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ON FREE PUBLIC VIEW 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


BEGINNING MONDAY, APRIL 28rn, 1919 
AND CONTINUING UNTIL THE DATE OF SALE 


THE 
VERY IMPORTANT 


TOLENTINO GALLERIES 
COLLECTION 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY DIRECTION OF THE OWNER 


ON THE AFTERNOONS OF 
THURSDAY AND FRIDAY, MAY 1st AND 2npD 


Peer AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


BEGINNING PROMPTLY AT 2.30 O’CLOCK 


Pacectiny Pitit as¢—3/a. 


a ain . 
* ent pete ey ey 


c - ¥ 


ILLUSTRATED CATALOGUE 
OF 
_ THE RARE AND VALUABLE 
ITALIAN RENAISSANCE FURNITURE 
BRONZES, CERAMICS, MARBLES 
PeiNetlINGS AND TEXTILES 


GREEK AND ROMAN ANTIQUITIES 
AND OTHER RARE OBJECTS 


THE TOLENTINO GALLERIES 
COLLECTION 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


BY DIRECTION OF RAOUL TOLENTINO, OWNER 


ON THE AFTERNOONS HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF THE 
AMERICAN ART ASSOCIATION, MANAGERS 
MADISON SQUARE SOUTH, NEW YORK 
1919 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute arise 
between two or more bidders, the auctioneer shall either decide the same 
or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. 

4. Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—between the 
hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 


which the Association is in no wise engaged, and will not be performed 


by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the pur- 
chaser. Title passes upon the fall of the auctioneer’s hammer, and 
thereafter, while the Association will exercise due caution in caring 
for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 


within ten days from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of any 
_lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold “tas is” and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper 


foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


ee ee ee eee 


FIRST AFTERNOON’S SALE 


THURSDAY, MAY 1, 1919 


AT THE AMERICAN ART GALLERIES 


BEGINNING PROMPTLY AT 2.30 O'CLOCK 


GLASS 


1—Roman Gtuass Vase oF THE THIRD Century B.C. 
Molded greenish glass. Tapering sides and molded spreading rim. 
Cream-colored incrustation and exceptional greenish iridescence. 


Height, 1% inches. 


2—-Roman Guass Cup oF THE First CEentTurY B.C. 


Of blown white glass. Cylindrical shape with turned over rim. Silvery 


patina and iridescence. 
Height, 11% inches. 


3—Roman Guass Vase oF THE First Century B.C. 
Of blown amber-colored glass. Barrel-shaped, with molded shoulder 
and foot. Circular opening, with double pear-shaped stopper. Silvery 


patina and iridescence. 
Height of vase, 234 inches. 


4—Roman GuAss VASE OF THE First CrentTury B.C. 


Blown white glass. Globular body, with pinched-in sides, incurved neck 
and spreading rim. Silvery patina and iridescence. 
Height, 21, inches. 


5—Siponran Guass PERFUME BoTrrLe oF THE First Century B.C. 


Molded amber-colored glass. Formed as a date with cylindrical neck. 


Silvery patina and slight iridescence. 
Height, 214, inches. 


6—-Roman Grass Vase oF THE SEconDd Century B.C. 
Molded greenish glass. Globular body, incurved neck and spreading 
rim. Decorated with outstanding zigzags of glass filament. Green 


iridescence. 
Height, 3 inches. 


7—Roman Guass Bown or THE First Century B.C. 
Blown white glass. Coupe-shaped, with straight projecting rim and 
annular foot. Cream-colored incrustation, revealing a silvery iridescence. 


Height, 21, inches; diameter, 3 inches. 


8—Roman Guass Bowt or THE First Century B.C. 
Blown white glass. Coupe-shaped, with curved sides and annular foot. 


Silvery patina and rich iridescence. 
Height, 1%, inches; diameter, 31% inches. 


9—VENETIAN GLAss VasE witH HANDLES OF THE SIXTEENTH CENTURY 


Blown white and blue glass. Coupe-shaped body, reeded, ribbed and 
encircled by filaments of blue glass; spreading stem, circular foot and 
two looped handles of dark blue glass with quillings of white glass. 
(Cracked.) 

Height, 31%, inches. 


10—-ALEXANDRIAN GLAss VASE OF THE First Century B.C. 


Blown blue glass. Globular body, cylindrical neck and spreading rim. 
Body encircled by filament of white glass. Brown incrustations and 


slight iridescence. 
Height, 3%4- inches. 


11—Roman Grass VAsE oF THE Tuirp Century B.C. 
Molded greenish white glass. Tapering cylindrical shape, with spreading 
rim and ribbed foot. Slightly iridescent. 
Height, 34, inches. 


12—Roman Guass Droprinc Borris or tHE Second CENTURY B.C. 


Molded greenish glass. Globular-shaped body, molded in a sunken reticu- 
lated pattern. Cylindrical neck, with pierced web and molded spreading 
rim. Varicolored iridescence. 

Height, 334, inches. 


13—Roman Guass Vast oF THE Tuirp Century B.C. 


Molded greenish glass. Pear-shaped body, with raised reticulated pat- 
terning; cylindrical neck and spreading rim. Brown incrustations, re- 

_ vealing a greenish iridescence. 
Height, 4 inches. 


14—Roman Guass Vase or THE Tuirp Century B.C. 
Molded white glass. Globular body, with cylindrical neck and spreading 


rim. Brown patina and greenish iridescence. 
Height, 5°, inches. 


15—Roman Guass Ewer or THE Turrp Century B.C. 
Molded amber-colored glass. Pear-shaped body, with vertical pinched- 
out ribbings. Cylindrical neck, encircled by filament of blue glass, 
pinched-in spout, spreading rim, straight looped handle of dark blue 
glass, and annular foot of blue glass. Silvery patina and slight iri- 


descence. 
Height, 6% inches. 


16—Romawn Guass Bow. oF tHE Tuirp Century B.C. 
Molded amber-colored glass. Straight spreading sides. Silvery incrusta- 
tions, revealing a slight iridescence. (Repaired. ) 


Height, 3% inches; diameter, 714, inches. 


17—Roman Guass VasE oF THE Second Century B.C. 
Molded white glass. Pear-shaped body, with pinched-out vertical rib- 
bings, starting from applied quilled band; cylindrical neck, encircled 
by filaments of glass, and flat spreading rim. Golden incrustations, 


revealing fine iridescence. 
Height, 8 inches. 


18—VENETIAN Guass VASE OF THE SIXTEENTH CENTURY 
Blown white glass. Bottle-shaped, with flattened body, spreading cylin- 
drical neck, molded knop and circular foot. Decorated, as to the body, 
with scrolled escutcheon in gold, enclosing coat-of-arms in blue and 
gold. In contemporary octagonal box with hinged lid, covered with 


sixteenth century velvet and lined with silk damask. 
Height, 91% inches. 


19—VeneTian Guass Vase OF THE SIXTEENTH CENTURY 
White blown glass. Shaped as a horse, with mane of quilled glass, seated 
on its hind legs and supporting a bell-shaped bowl. On circular conical 


and molded foot. (Restored.) 
Height, 1214 inches. 


20—Venetian Guiass Deer Dish or THE SIXTEENTH CENTURY 
“Vitro de Trina,” or lace glass. Circular shape, with broad flat rim, 
of clear white glass, having a reticulated pe eyoe of opaque white 


“lattino” glass. 
Diameeaa 1714, inches. 


MISCELLANEOUS ART OBJECTS 


91—Irauian SILVER SuCRIER OF THE EIGHTEENTH CENTURY 


Body of crater shape, with lower portion gadrooned, incurved stem and 
circular foot with acanthus leaf border, projecting scrolled handles 
modeled as dolphins, domed cover with acorn finial and base pierced 
with interlacements. Neapolitan mark of the eighteenth century. 
Maker’s mark: “L. M.” 

Height, 614 inches. 


22——Parr oF VENETIAN CoLorED Guass STATUETTES OF THE Late Ejcu- 
TEENTH CENTURY 
Figure of two masqueraders, one in a green domino and the other in 
red, patterned with floral sprays, black cape and tricorn hat. 


Height, 81% inches. 


23—Patr or VENETIAN GuaAss CANDLESTICKS OF THE EIGHTEENTH CENTURY 


Of clear and opaque white and black glass. Formed as the standing 
figures of negroes in tight-fitting tunics and loose knee-breeches, holding 
voluted cornucopiz which form the candle sockets. 

Height, 10 inches. 


2?4—Partr oF VENETIAN COLORED-GLASS STATUETTES OF THE LaTE E1cH- 
TEENTH CENTURY 


Figure of lady and gentleman in masquerade costume. The lady in a 
green skirt and red bodice with powdered hair, the gentleman in green 
coat, black knee-breeches, tricorn hat and black hair. 

Height, 9 inches. 


25—VENETIAN Grass Picture Frame or THE Earty SEVENTEENTH CEN- 
TURY 
Molded frame, formed of panels of mirror glass divided by bands of 
spirally twisted clear glass, with applied masks and leaves of repoussé 
brass at the angles and finial of a rayed mask in cast brass. 


Height, 5 inches; width, 9 inches. 


26—VENETIAN BENITIER OF THE LATE SIXTEENTH CENTURY 


Of silver, enameled in colors. Rectangular back, painted with subject 
of the Crucifixion with the Virgin and St. John, with arched top, scrolled 
cresting, floral finial, and flanked by twin Corinthian pilasters. Below 
a shaped, white enameled, holy-water stoup, flanked by scrolls and deco- 


rated with applied cherubs and branches of leaves. : 
Height, 7 inches. 


27— VENETIAN Guass RELIQUARY OF THE SIXTEENTH CENTURY 
Octagonal-shaped, on stand. Molded frame, formed of panels of mirror 
glass, separated by rods of spirally twisted white glass, mounted with 
leaves of repoussé brass and surrounded by pierced and scrolled border 
of cast brass, scrolled, mask finial and apron. Molded stand. 

Height, 91, inches. 


28—Pair or Steet GAUNTLETED ARMLETS OF THE SIXTEENTH CENTURY 
Pointed, half-round armlets of steel, with scrolled and cinquefoiled bor- 
ders damascened in gold. Hinged steel under pieces, and coat-of-mail 


gauntlets. 
Length, 19 inches. 


29-—-FLoRENTINE Ivory Carvine oF THE Earty SIxTEENTH CENTURY 
Section of elephant’s tusk carved in high relief with three-quarter-length 
figure of the Virgin supporting, on her right arm, the undraped Christ 
Child, to whom she tenders her breast to suckle. Part of a Pax carved 
in the botega of Baccio Bandinelli (1487-1559). 


Height, 514 inches; width, 4 inches. 
(Illustrated) 


30—Papuan Carvep Bone anp Cerrostna-work Casket oF THE Karty Fir- 
TEENTH CENTURY 
Rectangular-shaped, with domed and hinged lid. Lid decorated with 
broad bands inlaid with certosina-work of bone and ebony in a quatre- 
foil diaper patterning and with panels of recumbent nude female figures 
and leaves. Sides and ends decorated with carved figures of Saints, 
holding labels and palm leaves, flanked by castellated towers with doors ; 
one enclosing a figure of a man and one that of a nude female. At 
the angles are thin spirally twisted columns. Swinging looped carrying 
handle of wrought iron. | 
Height, 7 inches; length, 12 inches. 


Note: An almost precisely similar casket is in the British Museum. Illustrated in 
“Guide to the Mediaeval Room,” page 162. 


31—VeneTIAN Painted JEweL Box or THE EIGHTEENTH CENTURY 
Rectangular shape, with incurved front and double curved sides. Hinged 
lid, fitted with mirror. The box is painted in various colors, with panels 
of classic figure subjects. The interior is arranged with two removable 
boxes, lined with velvet and with a removable tray fitted with central 
box and four shaped side boxes with hinged lids, painted with Apollo 


and Daphne, and other subjects, on cream-colored grounds. 


Height, 4 inches; width, 19 inches; depth, 13 inches. 


32—FLoRENTINE CERTOsINA COFFER OF THE FirrEENTH CENTURY 
Rectangular shape, with hinged lid, having two side braces and molded 
base. Front, sides and top inlaid in ivory certosina-work, of a diapered 
geometrical design, the top with a chessboard and the front with a panel 
of octagonal patterning enclosing and surrounded by borders of stars. 
Swinging, looped carrying handles of wrought iron. 
Height, 1714 inches; width, 29 inches; depth, 19 inches. 


From the Stefano Bardini Collection. 


No. 29—FtLorENTINE Ivory CARVING OF THE 
SIXTEENTH CENTURY 


Earby 


: COPPER AND BRASS BOWLS, ETC. 


FLORENTINE Coprer Basin OF THE SEVENTEENTH CENTURY 


Circular shape, with globular gadrooned body and ‘incurved neck, 
repoussé with medallions and flutings. 


33 


Diameter, 12 inches. 


34—NuvremBere Brass Rose-water Dish or THE Late FirrEENtH CEN- 
TURY * 
Circular shape, with flat rim. Center repoussé with circular medallion 
of “Adam, Eve and the Serpent in the Garden of Eden,” surrounded by 
a legend in Gothic characters, and by spirally curved gadroonings. The 
rim incised with bands of leaves and trefoils. Silvered. 


Diameter, 1434 inches. 


Note: A precisely similar dish is in the British Museum. See “Guide to the 
Mediaeval Room,” page 7. 


35—FLORENTINE Copper Patt oF THE SIXTEENTH CENTURY 


Circular shape, with bulbous body and incurved neck repoussé with 
sunken flutings, and beaded border. Projecting ears, repoussés with 
shells and wrought-iron bail handle. 

Height, 121%, inches; diameter, 12 inches. 


386—FLoRENTINE Brass BAsIN OF THE SIXTEENTH CENTURY 


Circular shape, with straight sides and flat rim. Center decorated with 
circular medallion, repoussé with subject of “Adam, Eve and the Ser- 
pent,” the rim incised with a border of detached fleurettes. 


Diameter, 11%, inches. 


37—FLoRENTINE Brass Rose-watrer Dis or THE SIXTEENTH CENTURY 
Circular shape, with flat rim and raised central boss repoussé in a 
pattern of carved gadroons, surrounded by a repeated legend in Gothic 
characters. The rim is decorated with an incised border of trefoil 
design. | 


Diameter, 181% inches. 


38—FLorENTINE Brass Derr DisH oF THE SIXTEENTH CENTURY 
Circular shape, with flat rim. Center repoussé with raised boss of spirally 
twisted pointed gadroons, surrounded by a legend in Lombardic char- 
acters. The rim decorated with border of incised quatrefoils. 


Diameter, 1514, inches. 


39—FLoRENTINE Copper Palit OF THE SIXTEENTH CENTURY 
Circular shape, with bulbous gadrooned body and incurved neck, 
repoussé with flutings and band of beadings. Semicircular projecting 


ears and wrought-iron bail handle. 
Height, 12 inches; diameter, 11 inches. 


40—NvremBerc Brass Rosr-water DisH oF THE FIFTEENTH CENTURY 
Circular shape, with flat rim and raised central boss, repoussé in a 
pattern of spirally curved, pointed gadroons, and surrounded by a re- 
peated legend in Gothic characters. The rim is decorated with incised 


bands of festoonings and quatrefoils. 72 
Diameter, 17 inches. 


41—FLoRENTINE Coprer FounTAIN OF THE SIXTEENTH CENTURY 


Vase-shaped and fluted body, with beaded and fluted shoulder, cylin- 
drical fluted neck and molded and fluted foot, flat looped handle, curved 
upper spout with strapwork stay, and straight, projecting lower spout. 
Dark green patina. 

Height, 161, inches. 


42—-FLoRENTINE Copper BAsIN OF THE SEVENTEENTH CENTURY 
Circular shape, with curved sides and spreading rim repoussé with border 
raised oval medallions and cable patterning. 


Height, 10 inches; diameter, 19 inches. 


BRONZES 


43—Iranian Gitt Bronze ARCHITECTURAL ORNAMENTS OF THE SEVEN- 


TEENTH CENTURY 


Formed as cherubim with outstretched wings. Completely gilt. 
Height, 4 inches; width, 5 inches. 


44—GrerEk Votive BronzE or THE Fourtn Crenrury B.C. 


Modeled as an open hand, making a gesture of benediction. The palm 
encloses a bearded bust of the deity, Sabazius, the third and little fingers 
support a crescent, the thumb a pine cone, while the back is molded 
with a lizard, serpent, frog, tortoise and a vase in relief. This hand was 
dedicated to Sabazius, the Phrygian Dionysius or Indian Bacchus. On 
molded cylindrical red marble pedestal. 

Height of bronze, 21% inches. 


Note: The only similar example known to exist was excavated at Rumpst, near 
Antwerp. Exhibited at the Exposition des Beaux-Arts, Rome, 1911. 


45—Papuan Bronze PLAQuETTE OF THE Earty SIXTEENTH CENTURY BY 
MopErno 


Rectangular shape. Modeled with a subject of “The Holy Family.” 
In the center the Virgin, in a loose robe, seated under a tree, supports 
the undraped Child Christ. He reaches over to embrace St. Elizabeth, 
who kneels in front of the Virgin. On the left are two angels, one of 
whom plays a violin. In the foreground are a drawn sword above a child 
angel and, in the distance, St. Joseph drawing water from a spring, 
a saddled donkey and a cottage. Modeled by the artist known as “II 
Moderno” (fifteenth and sixteenth centuries ). 


Height, 13 inches; width, 9 inches. 


46—Roman VoriveE Bronze Lamp oF THE First Century A.D. 


Formed as a human foot with leather sandal. Ring handles, masked by 
a serrated leaf and hinged cover modeled as the face of Isis (suggesting 
Egyptian influence). Green patina. In velvet-lined case. 


Height, 2 inches; length, 6 inches. 


4°7—F LorENTINE Bronze Mortar or THE SEVENTEENTH CENTURY 


Cylindrical shape, with spreading sides. Decorated with horizontal mold- 
ings, a raised band of acanthus-leaf scrollings and with detached acan- 
thus leaves below. Molded foot. 

Height, 814 inches; diameter, 101% inches. 


48—FLoORENTINE BronzE AND [Ron STATUETTE 


“Cow.” Standing figure of cow modeled in iron, with horns and tail of 


bronze. Dark patina. No base. 
Height, 2°4 inches; length, 434 inches. 


49—Parr or Roman Bronze Water PircHers oF THE THirp Century A.D. 


Tapering, cylindrical shape, with incurved sides, applied square scrolled 
looped handle with swinging ring for suspension. Entirely coated with 


green incrustation. 
Height, 91% inches. 
Note: Execavated in Rome and used in the Baths of Caracalla. 


50—Tuscan Bronze Bust or THE FirreENtH CENTURY BY CIVITALI 
“St, Sebastian.” Bust of the Saint with upturned face, flowing hair, 
Florentine skull-cap and ringed nimbus. Dark patina. On octagonal 
pedestal of gilt wood and crimson velvet. Modeled by Matteo Civitali 


di Giovanni (1435-1501). 
Height of bust, 4 inches 


(Illustrated) 


51—Patir oF VENETIAN BronzE CANDLESTICKS OF THE SIXTEENTH CENTURY 


BY VITTORIA 
Shaped as a tripod formed of three voluted scrolls with female caryatid 
figures at the angles, separated by masks and scrolls and with feet formed 
as dolphins’ heads. Vase-shaped candle-sockets modeled with figures 
of putti and rams’ heads. By Alessandro Vittoria (1525-1613). 
Height, 7 inches. 


From the Stefano Bardini Collection. 


(Illustrated) 


52—Greco-Roman Bronze VAsE oF THE First Century A.D. 


Pear-shaped, fluted body. Cylindrical neck, inlaid in silver with acan- 
thus-leaf ornamentation, beaded spout, looped handle formed as a 
dragon with eyes of inlaid silver, molded stem and circular fluted foot. 
Dark-greenish patina. 

Height, 7. inches. 


5383—Roman Bronze STATUETTE OF THE First Century B.C. 


“Leda and the Swan.” Nude figure, one hand raised to her bosom, the 


other fondling a swan at her side. On triangular base. Dark green 
patina. Cylindrical and molded pedestal of red marble. 


Height of statuette, 234 imches. 


51 


54—Roman Bronze STATUETTE OF THE SECOND CENTURY B.C. 


“Hercules.” Nude figure, standing with club held in his right hand. A 
lion-skin is thrown over his shoulder and left arm, the head forming 
a head dress. Dark green mottled “Pompeian” patina. No base. On 


molded, rectangular red marble pedestal. 
Height of bronze, 5 inches. 


55—Graco-Roman Bronze STATUETTE OF THE THtrp Century B.C. 


“Athena.” Figure clothed in a peplum and with plumed helmet. She 
is seated, with her right hand raised to her head and her left arm 
extended downward. On rectangular base. Light green patina. On 
molded rectangular pedestal of red and black marble. 


Height of bronze, 5 inches. 


aK 


56—Papuan Bronze STATUETTE OF THE SIXTEENTH CENTURY 


“Atlas.” Nude figure, standing, and supporting on his shoulders a globe 
with sun in relief, forming an ink-well with circular opening. Dark pa- 
tina. On square base and molded, rectangular marble pedestal. 


Height of statuette, 8 inches. 


57—Roman Bronze Ewer oF THE SECOND CEentTUuRY A:D. 


Globular body, incurved neck and looped handle, with heart-shaped ter-’ 


minations. Dark green patina. 
Height, 6%, inches. 


58—Iratian Bronze STATUETTE OF THE FIFTEENTH CENTURY 


“A Dancing Faun.” Nude figure of a faun, with pointed ears, curly | 


hair and outstretched arms. In an attitude of dancing. ‘Tail missing. 
Dark patina. No base, On rectangular molded pedestal of red marble. 


Height of statuette, 4% inches. 


59—Patrr oF Iranian Bronze STATUETTES OF THE SIXTEENTH CENTURY 


Rearing horses. Without trappings, after the antique. On molded rec- 
tangular pedestals of yellow marble. 
Heights of statuettes, 6 inches. 


Note: These horses were purchased at the sale, held in 1910 in Florence, of Signor 
Perroni’s famous collection of Bronzes. 


60—Frencu Bronze STATUETTE OF THE Louis XVI PrERIop 


“Castor.” Nude figure of Castor, with upturned face and right arm 
upraised, holding the bridle of a rearing horse. Irregular base, Dark 
patina. On contemporary molded and rectangular pedestal of yellow 


and white marble. 
Height of statuette, 9 inches. 


: 


61—FLorENTINE Bronze STATUETTE OF THE LATE SEVENTEENTH CENTURY 


Equestrian figure, bareheaded and carrying a drawn sword in his right 
hand, while the left holds the reins aloft. The horse has a saddle- 
cloth and its arched tail is tied with a ribbon. On an oval pedestal, 
probably Paduan of the fifteenth century, broken at the angles by four 
caryatid figures with tapering terminations. Molded cornice and base, 
the body decorated with acanthus-leaf scrollings arranged in quatrefoil 


form. 
Height of statue, 7, inches; height of pedestal, 5% inches. 


From the Stefano Bardini Collection. 


62—Fiorentine “CrrE-Perpu” Bronze Group or THE SIXTEENTH CENTURY 
BY BERNINI 

“Apollo and Daphne.” Apollo seizing Daphne, who presses close to the 
trunk of a laurel tree, the bark of which is held up by two winged 
Amorini. A third Amorino lies at full length below, his arms clasped 
around a branch of the tree. Irregular rustic base, on sixteenth century 
square carved and gilded wood: pedestal of Tuscan workmanship, with 
molded cornice and base and sunken panel of gilded carvings of acanthus- 
leaf rinceaux, scrolled escutcheons supported by terminal figures and 
statant lions. Modeled by Giovanni Lorenze Bernini (1598-1680). 


Height of bronze group, 20 inches. 


Note: This group, which is from the Davanzati Palace Collection, was cast by the 
cire-perdu process, from Bernini’s original study in wax, for his marble group now 
in the Borghese Museum in Rome. As such it is illustrated, with a descriptive explana- 
tion, in the “Life of Bernini” by Professor Munoz of the University of Rome. 


(Illustrated) 


No. 62—F.LorEnTINE “CrrRE-PERDU” BronzE GrouP OF THE SIXTEENTH 
CENTURY BY BERNINI 


63—Frencu Gitpep Bronze Manret GARNITURE OF THE SEVENTEENTH 
CENTURY 


Clock with white enameled dial and gilded bronze tablet; shaped dial 
case, surmounted by finial of two winged doves to which a blackamoor 
in black bronze is pointing. Plinth with tablet in low relief modeled 
with subject of Indian with parrot and Sailor with bale of goods in 
landscape with palm trees. Candelabra, with stems modeled as figures of 
standing Sphinxes in black bronze, on cylindrical pedestals, supporting 
scrolled branches with two candle sockets, in gilt bronze. 


Height of clock, 10% inches. 
Height of candelabra, 1834 inches. 


64—Roman Bronze Lamp-stanp or THE First Century B.C. 
Fluted cylindrical stem on tripod stand of three birds’ claws, with cir- 
cular cushion feet. Above, a circular, fluted disk, molded neck and four 
curved branches with flattened trefoil terminations and a standing figure 
of a Discobolus. Dark green patina. 
. Height, 48 inches. 


Note: From the sale, in 1910, of the famous Ferroni Collection of Bronzes. 


65—FLoRENTINE Bronze STATUETTE OF THE SIXTEENTH CENTURY BY Bo- 
LOGNA 

*“Abundantia.” Full-length figure, nude, save for a scarf thrown over the 

left shoulder and forming a girdle. The left hand rests on a cornu- 

copia, the right, with extended arm, holds a bouquet of flowers. Dark 

green patina. No base. On molded rectangular pedestal of lapis-lazuli 

and Giallo Antico marble. Modeled by Gian di Bologna (1580-1608). 


MARBLES, TERRA-COTTA AND STUCCO 


66—Earty Greek Marsre Bust or THE SixtuH Century B.C. 
Head of Hermes, as a warrior with plumed helmet, shaped mask, and 


scale corselet. Of yellowed white marble. 
Height, 7 inches. 


67—VENETIAN Patntep TErRRA-coTTA STATUETTE OF THE FIFTEENTH CEN- 
TURY 
“A Sleeping Child.” Full-length figure of a child asleep and resting 
her right arm on a pillow. She wears a flowing robe, painted to imi- 
tate a floral brocade, and has natural hair. On oval rustic base. 


Height, 4%, inches; length, 10 inches. 


(Illustrated) 


68—Graco-Roman STATUETTE OF THE THIRD Century B.C. 
“A Winged Victory.” Standing figure of a woman in flowing chiton, girt 
at the waist. At her right side is a winged gryphon and in her left hand 
she carries the stem of a palm branch. Head and right arm missing. 


Irregular base of Greek statuary marble. 
Height, 1514 inches. 


(Illustrated) 


67 


69—VENETIAN CoLorepD TERRA-COTTA STATUETTE OF THE LaTE SEVEN- 
TEENTH CENTURY 

Figure of the Virgin in flowered robe, red undergarment, blue mantle, 

sheepskin collar and broad-brimmed hat. The under surface of brim 

gilded so as to form a halo. She is seated and supports with her left 

hand the undraped Child Christ, who sits on her lap, while her right 


hand is raised. Painted naturalistically and gilded. 
. Height, 28 inches. 


70—Roman Terra-cotta STATUETTE OF THE SEVENTEENTH CENTURY BY 
ALGARDI 

The Muse of History. Figure, in uncolored terra-cotta, of a woman 

with banded hair, draped in a chiton and mantle, wearing sandals and 

seated on a rocky mound, reading, with downturned face, from a scroll 

to which she points with the forefinger of her right hand. Irregular, 
rocky base. Modeled by Alessandro Algardi (d. 1654). 

Height, 28 inches. 


71—FLorENTINE Marsie Portrait Bust or THE FIFTEENTH CENTURY 


Portrait bust of a middle-aged Florentine, clean-shaven, with curling 
hair, Florentine cap with turned-up lappets, close-fitting jerkin and 
mantle. On semi-octagonal base of wood, with molded cornice and base 


and plinth marbleized in blue and white. 


Height of bust, 17 inches. 
From the Stefano Bardini Collection. 


72—FreNcH STONE STATUETTE OF THE FIFTEENTH CENTURY 


Of Caen stone. Standing figure of an Angel, holding a candlestick and 
standing under a Gothic canopy formed of a crocketed arch with tre- 
foil tracery, flanked by floriated pinnacles. Traces of coloring on the 
embroidered collar, hair and wings. 


Height, 30 inches. 
From the Mercier Collection in Rome. 


73—Pisan Marsxie Portrait Bust or THE THIRTEENTH CENTURY By A. 
pi CAMBIO 


Larger than life-size bust of a middle-aged man with clean-shaven face; 
aquiline nose and curling hair. He wears a Florentine round cap and 


jerkin with warrior standing collar. On rectangular painted and gilded 
molded pedestal. Modeled by Arnolfo di Cambio (1232-1310). 


Height of bust, 19 inches. 
From the Stefano Bardini Collection. 


Note: Di Cambio, the architect and sculptor, was a pupil of Niccold Pisano. He 
designed the Churches of Santa Croce and Santa Maria del Fiori, Florence. 


74—ArcHaIistic Roman Heroic Bust or WARRIOR OF THE THIRD CENTURY 
B.C. 


Bust of youthful warrior gazing downward, with curling hair and 
steel morion, having a scrolled visor. He wears a steel corselet having 
a winged mask in low relief, and shoulder lappets carved with the figures 
of bearded warriors archaistically treated. On molded cylindrical 
pedestal of veined yellow marble. 


Height, 34 inches. 
From the Stefano Bardini Collection. 


75—FLORENTINE MarsBieE Bust or THE SEVENTEENTH CENTURY BY BERNINI 


Life-size bust portrait of a lady of the Roman Court. Her head is 
held erect and her curling hair is drawn back from her forehead and 
falls in ringlets over her shoulders. She wears a loose mantle and a 
bodice trimmed with punto Gottico lace, knotted ribbon and a pearl 
pendant. Modeled by Giovanni Lorenzo Bernini (1598-1630). On cylin- 


drical fluted, carved and gilded marble pedestal. 
Height, 33 inches. 


From the Stefano Bardini Collection. 


76—Roman Marnie Wart Pepestat or THE First Century B.C. 
Formed of the leg of a lion with paws, the upper part carved with an 
acanthus leaf terminating in a lion’s head and molded bracket. On 


rectangular molded base. 
Height, 35 inches. 


77—FLORENTINE GuazeD TERRA-COTTA STATUETTE OF THE SIXTEENTH CEN- 
TURY BY GiovaNNI Dexia Rossia 
Tablet with arched top glazed in blue. In front, modeled in ‘high relief, — 
is the seated nude figure of a Putto, resting his left hand on his knee, 
glazed in pink. Base modeled with rocks and flowers glazed in brown and 
green. Modeled by Giovanni Della Robbia (1469-1529). 


Height, 15 inches. 
(Illustrated) 


No. 77—FLorRENTINE GuLAzED TERRA-COTTA STATUETTE OF THE SIXTEENTH 
CentTurRY By GriovANNI DetxtaA Rospsia 


78—FLoRENTINE CoLtorEepD Stucco BAs-RELIEF OF THE FIFTEENTH CENTURY 
BY RossELLINO 

Rectangular tablet, modeled with the three-quarter-length figure of the 
Virgin dressed in a red robe, a blue mantle and white lined hood. She 
stands with bent head and an expression of foreboding melancholy as 
she holds with both hands the undraped Child Christ, who rests His 
right hand on His mother’s breast and smiles with childish glee. Both 
Virgin and Child have gilt haloes. In old tabernacolo stucco frame with 
molded cornice and frieze, decorated with clusters of leaves and scrolls 
in gold relief on a blue ground, supported by fluted Corinthian pilasters. 
Plinth decorated with acanthus rinceaux springing from a central vase 
in gold relief on a blue ground, molded base. Modeled by Antonio Gam- 

berelli, called Rossellino (1427-1490). 
Height, 48 inches ; width, 37 inches. 


(Illustrated) 


No. 78—FLorENTINE CoLoreD Stucco Bas-RELIEF OF 
Century By RosseLiino 


THE FIFTEENTH 


79—Roman Terrra-cotts BaAs-RELIEF OF THE SEVENTEENTH CENTURY BY 
ALGARDI 

“The Sacrifice of Isaac by Abraham.” Rectangular shape. Of uncolored 
terra-cotta, modeled with the standing figure of Abraham, holding in 
his outstretched right hand a carved scimitar and with the other held 
over the figure of Isaac, shown as a youth, nude save for a knotted girdle, 
kneeling with his hands behind his back, on a square stone altar. Above, 
an Angel, appearing from a cloud, arrests the hand of Abraham, while 
at the side is seen the ram caught in the thicket. On the left hand is 
a fire of fagots and on the right a tree trunk. Landscape background. 

Modeled by Alessandro Algardi (d. 1654). 
Height, 32 inches; width, 23 inches. 


Note: This and Number 69 are the works of Algardi, collaborator and the 
private pupil of Bernini. They came into the possession of the present owner from the 
museum of Prince Torlonia in Rome. Prince Torlonia purchased the Studio of Bernini 
with its contents. 


(Illustrated) 


No. 79—Roman TeErra-cotra BAs-RELIEF OF THE SEVENTEENTH 
CENTURY BY ALGARDI 


80—Pair oF Pisan MarBie STATUES OF THE FouRTEENTH CENTURY BY A 
ScuLpror OF THE Earny Pisan ScHooL See 


Chief figures in an Annunciation. The Virgin, clothed in a tunic anda  =—— 
loose mantle with a veil thrown over her head, stands in a listening 
attitude holding a missal in her right hand. The Angel Gabriel, shown 

as youth with curling hair, stands, holding open with both hands a parch- 

ment scroll. Both figures are on circular bases and are supported on 
contemporary columnar pedestals, with heavily fluted shafts, molded 

bases and square pedestals with tongue-shaped leaves at the angles. 


Height of statue, 45 inches. 


Height of pedestal, 37 inches. 
From the Stefano Bardini Collection. : 


(Illustrated) 


; 


No. 80—Pair or Pisan STATUES 


BY A SCULPTOR OF THE 


oF THE FourRTEENTH CENTURY 
Earzty Pisan ScHoon 


81—Parr or FrorentIne MarBie STATUETTES OF THE FIFTEENTH CENTURY 
BY DEL REAME 

Figures of Amorini with curly hair and folded wings. In linen tunics 

with bare legs; holding in both outstretched hands, skeins of wool. On 

irregular bases. (Repaired.) Modeled by Mino del Reame (about 


1462). 
Height, 26 inches. 


Note: Mino del Reame was a fifteenth century sculptor. Mentioned by Vasari as 
“a distinguished sculptor.” These “Putti” formed part of a monument and supported 
a canopy. 


82—Sictnian MarpieE GarpeN VASE OF THE SEVENTEENTH CENTURY 
Pear-shaped with fluted lips, voluted looped handle and molded circular 
base. Solid body carved, in relief, with grotesque masks and scrolled 


acanthus leaves. 
Height, 43 inches. 


83—Parr or VENETIAN MarsieE Lions oF THE SIXTEENTH CENTURY 


Molded in white. Parian marble with heraldic figures of sejant lions, 
having partially opened mouths and curling manes. On circular bases. 


Height, 45 inches. 


84—Parr oF SoutH SiciuaAn Marsre Vases oF THE EIGHTEENTH CENTURY 
Urn-shaped bodies, carved in relief with scroll and leaf patternings, 
globular knops carved with leaf borders, incurved stems, molded feet. 


Domed, gadrooned covers, with acorn-shaped finials. 
Height, 57 inches. 


MAJOLICAS, POTTERIES AND PORCELAINS 


85—Ruopian Masorica BEAKER OF THE SEVENTEENTH CENTURY 


Cylindrical shape, with incurved sides and round looped handle. Invested 
with a cream-colored glaze and decorated in blue, green, yellow, brown 
and red enamels with vertical panels enclosing leaves and floral sprays 
and with paneled borders of floral sprays. 

Height, 434 inches. 


86—Rywopian Masonica BEAKER OF THE SIXTEENTH CENTURY 
Cylindrical shape, with flat looped handle. Invested with a white glaze 
and decorated, in blue, green, brown and red enamels, in a pattern of 
pointed serrated leaves and tulips and with an angular twisted rope 


border. 
Height, 8 inches. 


87—Perrsian Potrery Bowl oF THE SIXTEENTH CENTURY 
Coupe-shaped; with pierced border. Invested with a white glaze filling 
up the piercings and decorated, in black, with central medallion, sur- 
rounded by quatrefoils on a hatched ground and by a paneled border. 


Height, 314, inches; diameter, 81/, inches. 


88—Greco-Roman Terra-corta Lecytuus wirH HanpLeE. SECOND CEN- 


tury B.C. 
Pear-shaped body, with cylindrical neck. Flat looped handle and molded 
circular foot. Of light red terra-cotta, decorated in black and white 
with figures of three priestesses draping a sacrificial bull with gar- 


lands, and with a Greek border of interlaced leaves. 
Height, 8 inches. 


89—Greek Terra-corra Ruyron or THE THIRD Century B.C. 


Of red terra-cotta, the lower portion shaped as the head of a heifer, 
the upper forming a cylindrical neck with spreading rim and flat looped 
handle. Decorated, in black and white, with the figure of a seated 


Winged Victory, flanked by honeysuckle ornaments. 
; Height, 5 inches. 


90—Pair or Irarian Masozrica ALBARELLI OF THE SIXTEENTH CENTURY 


Incurved cylindrical shape, with curved rims. Invested with a white 
glaze and decorated, in light blue, yellow and brown, with scrolled 
escutcheons occupied by the arms of the Abruzzi family. 


Height, 9%, inches. 


91—Ruopian Porrery PLATE OF THE SIXTEENTH CENTURY 


Circular shape, with flat rim. Invested with a white glaze and deco- 
rated, in blue, red and green enamels, as to the center, with a circular 
medallion enclosing curved serrated leaves and floral sprays and sur- 
rounded by a lambrequin border in blue, and as to the rim, with alternate 
panels of blue and white reserve enclosing spirals of black. Exterior with 
fleurettes in blue. | 
Diameter, 13 inches. 


92—-Hispano-Moresavet Lusrerep Porrery Dish oF THE SIXTEENTH CEN- 
TURY 


Circular shape, with flat rim and molded edge. Invested with a cream- 
colored glaze and decorated, in copper lustre, with displayed eagle, 
surrounded by a diapering of birds, and stems of carnation blossoms and 
with a looped border. 


Diameter, 151/, inches. 


938—CarFraccioLo Mazsornica VASE OF THE SIXTEENTH CENTURY 


Flat bottle-shape, with two looped handles. Modeled as Satyrs’ heads 
with curved horns. Screw domed cover, vase-shaped finial and oval 
foot. Painted in blues, greens and yellows, with a scene of the besieging 
of a castellated tower, the besiegers on one side advancing under a 
mattress, on the other wielding a battering ram. Neck in brilliant blue, 


finial and handles in yellow. 
Height, 15°, inches. 


94—Mitanese Masorica Dish or THE SIXTEENTH CENTURY 
Circular shape, with flat rim. Invested with a dark blue glaze and deco- 
rated, in white, as to the center, with an octagonal medallion rayed 
with floral sprays, and as to the rim, with a border of flowers, leaves 


and scrolls. 
Diameter, 17 inches. 


95—Dutcu Detrr Ware Disu or THE SEVENTEENTH CENTURY 
Circular shape, with flat rim. Invested with a white glaze and deco- 
rated, in blue, with a medallion enclosing two Chinese figures and an 
arched doorway, and surrounded by scrollings and panels of Chinese 


figures and floral sprays. 


Diameter, 131%, inches. 


96—Durcu Detrr Ware Dis or THE SEVENTEENTH CENTURY 
Circular shape, with curved rim. Invested with a white glaze and deco- 
rated, in blue, with a medallion enclosing a group of Chinese figures 
in front of a doorway, surrounded by panels of Chinese figures and 


floral sprays, separated by narrow panels of tulips. 
Diameter, 13 inches. 


97—Deruta Trerra-coTrta VASE OF THE SIXTEENTH CENTURY 


Dark brown terra-cotta, invested with a brown glaze. Shaped as a 
pine cone with incurved stem and molded circular foot. 
Height, 71 inches. 


(Illustrated) 


98—Deruta TErRRA-coTTA VASE OF THE SIXTEENTH CENTURY 
Dark brown terra-cotta, invested with a brown glaze. Shaped as a 


pine cone, with incurved stem and molded circular foot. 
Height, 10 inches. 


(Illustrated) 


99—Farnza MasonricA Druc VASE OF THE SIXTEENTH CENTURY 


Globular-shaped body, cylindrical neck and spreading rim. Invested 
with a cream-colored glaze and decorated in green, blue, yellow, red 
and black with a scrolled label having the name of the drug in Gothic 
characters, with trefoiled leaves and with a monastery “‘Sigillum” ini- 
tialed G. B. V. 
Height, 91, inches. 
(Illustrated) 


99 


100—Hisrpano-Moreseveé VENETIAN DisH OF THE SIXTEENTH CENTURY - 


Circular shape, with flat rim and raised central boss, modeled with 

sunken, spirally carved gadroons. Decorated, in copper lustre and q 
blue, the rim with raised branches of pointed leaves, the interior with 7 
four lined rectangles, enclosing diagonals and diamonds, on a diapered a 
ground of briony scrollings. The exterior with scrolled leaves and floral . 


sprays in copper lustre. 
Diameter, 19 inches. 


(Illustrated) 


101—FLorENTINE Terra-coTra Bas-RELIEF OF THE SIXTEENTH CENTURY 


Circular tablet, modeled with a half-length figure of the Virgin, in robe 
and hood, with head bent forward, and holding in her left arm, her 
right hand holding His feet, the undraped Child Christ. Supported by 
a bracket with apron formed as a cherub. In underglaze red terra- 
cotta. Surrounded by a frame of terra-cotta glazed in colors, in the 
Della Robbia manner, and modeled with apples, pears, pomegranates, 
fir cones and leaves, and with an inner bead and reel border. Frame 
modeled by Giovanni Della Robbia (1469-1529). 


Diameter, 45 inches. 


(Illustrated) 


102—MeissEN PorceLAIn Ficurre oF THE EIGHTEENTH CENTURY 


Figure of a monkey holding in his hands a pomegranate and seated on 
the stump of a tree. Glazed in white, with eyes and hands painted 
naturalistically. On carved molded, gilded and octagonal base. Mark, in 
blue, crossed swords of the Marcolini period. | 

Height, 18 inches. 


Note: This figure was presented by the Czar of Russia to the Brazilian Ambassa- 
dor in Rome. 


CANDELABRA AND CANDLESTICKS 


103—Patir or Frency Carvep ann GitpED Woop CANDLESTICKS OF THE LOUIS 
SIXTEENTH PrErRIop 


Tapering and fluted shafts on leaf-carved bases, with circular beaded 
feet. Vase-shaped gadrooned candle-sockets with carved saucer-shaped 


bobéches. Completely gilded. 
: Height, 14 inches. 


104—Parr or Iratan Carvep anv GitpEp Woop Canp.esticks oF THE Lovis 
SIXTEENTH PERIoD 

Tapering and fluted shafts on leaf-carved bases, with beaded circular 

feet. Vase-shaped gadrooned sockets, with carved saucer-shaped 


bobéches. Completely gilded. 
Height, 14 inches. 


105—Pair or [rattan Carved anp GiLpED Woop CaNDELABRA OF THE E1GH- 
TEENTH CENTURY 

Tapering, fluted center shafts with curved voluted and acanthus-leaf 

carved side brackets, all terminating in fluted vase-shaped candle-sockets 

with egg and tongue carved bobéches. On rectangular molded and carved 


base. Completely gilded. 
Height, 151/, inches. 


106—Pair or Irarian Carvep ann GILDED Woop CANDELABRA OF THE EIGH- 
TEENTH CENTURY 

Tapering, fluted shafts, having curved voluted and acanthus-leaf carved 

side brackets, and terminating in fluted, vase-shaped candle-sockets: with 

egg and tongue carved bobéches. On rectangular molded and carved 


bases. Completely gilded. 
Height, 151/, inches. 


107—Parr or Irautan Carvep, Painted anv GILDED Woop CANDLESTICKS OF 
THE LatTE SIxTEENTH CENTURY 

Baluster-shaped stems, carved with pointed leaves; vase-shaped supports 

and triangular shaped bases carved with volutes, acanthus leaves and 

shaped panels. Saucer-shaped, carved bobéches and pointed iron prickets. 


Gilded and painted. 


Height, 35 inches. 


108—FreNcH Gotuic Carvep Woop STATUETTE OF THE FIFTEENTH CENTURY 


Of pearwood. The Virgin, crowned, and with flowing hair and loose 
robe, is seated and supports, on her left knee, the undraped Child 
Christ, who holds a bird in His left hand. On semi-octagonal base and 
contemporary pedestal of molded wood and crimson velvet. 


Height of statue, 12%, inches. 


109—Papvuan GitpED and Patnrep Woop Srarverre oF THE FIFTEENTH 
CENTURY 
Figure of the Virgin seated on a bench with paneled front. Molded top 
and base, having a semicircular projection. She has long curling hair 
and is dressed in a white undergarment, gold-laced bodice and gold 
mantle and hood lined with blue. Both arms are outstretched, as though 
to hold the Child Christ. Painted naturalistically and gilt. 


Height, 35 inches. 


110—Parr or VENETIAN PaInTED AND GILDED Woop STATUETTES OF THE SIx- 
TEENTH CENTURY 

Figures of Angels with curling hair. In classic robes, leaving the legs 

bare and wearing greaves and sandals. They clasp with both hands 

carved and fluted cornucopiz. On octagonal molded bases, with voluted 

angles and paneled sides, carved with leaf rosettes. Painted in natural 


colors and gilded. 
Height, 351, inches. 


(Illustrated) 


111—Patir or Iranian Carvep, PAIntED anp GiLDED Woop CaANnpDLESTICKS 
OF THE Late SIXTEENTH CENTURY 

Baluster-shaped stems, carved with pointed leaves; vase-shaped sup- 

ports and triangular shaped bases carved with volutes, acanthus leaves 

and shaped panels. Saucer-shaped, carved bobéches and pointed iron 


prickets. Painted and gilded. 
Height, 35 inches. 


(Illustrated) 


112—Ser or Srx SienesE Parisanpro Woop CAaNDLESTICKS OF THE SIXTEENTH 
CENTURY | “a 
Baluster-shaped spirally fluted stems carved with pointed leaves sup- = 
ported on fluted vases with three voluted handles and terminating in ~ . 
Ionic capitals. Saucer-shaped bobéches, carved below with acanthus 
leaves, triangular pedestals with husk pattern festoons, gadrooned bases 
and three paw feet. Carved by G. B. del Tasso, from a design by 
Baldassare Peruzzi (1481-1536). 
. Height, 41 inches. 


Note: These candlesticks, exceptional for their state of preservation, are illustrated 
in “A History of Italian Furniture” by William M. Odom, page 205, Fig. 194. Peruzzi 
was a leading architect of Siena and an associate of Raphael. 


(Illustrated) 


No. 112—Set or Srx SIENESE PatisAanpro Woop CANDLESTICKS 
OF THE SIXTEENTH CENTURY 


113—Pam or Frorentine Paintep anp Gitpep Woop PascuaL CanpLE- 
STICKS OF THE SIXTEENTH CENTURY 
Baluster-shaped stems, carved with lotus leaves; ball knops carved with 
acanthus leaves, turned molded stems and saucer-shaped carved bobéches. 
On triangular pedestals, carved at the angles with female terms ending 
in volutes, on the sides with scrolled escutcheons, and with paw feet. 
Marbled and gilded strap-iron sockets. Fitted for electric lights. 


Height, 6914 inches. 


Note: The bases of these candlesticks correspond in nearly every particular with 
those of the famous pair in the Cathedral of Parma. 


(Illustrated) 


No. 113—Parr or FLorRENTINE PAINTED AND GILDED Woop 
PascHAL CANDLESTICKS OF THE SIXTEENTH CENTURY 


WROUGHT-IRON WORK AND LANTERNS 


114—Ser or FrorentinE Wrovent-tron Door BossEs oF THE SIXTEENTH 
CENTURY : 
Quatrefoil plates, shaped as serrated leaves of wrought iron, secured with _ 
one large and four small spikes of iron with rounded heads. Set con- 
sists of forty-one leaf quatrefoils with spikes to match. | 


Height, 41, inches; width, 41/4 inches. 


115—Pair or Wrovent-iron Travian CANDLE BRACKETS OF THE FOURTEENTH 
CENTURY 
Vertical rings of wrought iron, pierced, and with open crestings sup- 
ported by strap-iron wall brackets, fitted with large central candle- 
socket of strap iron and two smaller side sockets. 


Height, 15 inches; diameter, 121, inches. 


116—Iratian WrovcutT-1ron CanpLe Bracket OF THE FIFTEENTH CENTURY 

Curved X-arm of bar iron, terminating in floral volutes and with a scroll- 

ing of strap iron. It supports a candle-socket of wrought iron sur- 
rounded by serrated leaves and flowers, with an iron pricket. 

Length, 16 inches. 


117—Pair or Iranian GinpED Wroveut-1ron Wart Licuts oF THE SEVEN- 
TEENTH CENTURY 

Three curved, spirally grooved arms tied with ribbon bows, draped 

with festooning, flowers and leaves, and terminating below in clusters 

of flowers and leaves, above in cylindrical candle-sockets with saucer- 

shaped bobéches. Completely gilded. Height, 16 inches. 


118—FLorentiInE Wrovcut-iron Lamp Bracket OF THE SIXTEENTH CEN- 
TURY 
Bracket formed of a voluted scroll of bar iron, enriched with scrolls, 
flowers, leaves and tendrils of wrought iron. Bracket terminates in 
candle-socket of wrought-iron oak leaves. 
Height, 24 inches; length, 26 inches. 


119—FLorentineE Wroveut-tron Lanrern anp BRACKET OF THE SIXTEENTH 
CENTURY 
Straight bracket of bar iron with curved strap-iron support. Floriated 
cross-shaped finial and floral termination of wrought iron with hook 
shaped as a scrolled leaf from which hangs a sheet-iron lantern of 
square tapering form with glazed sides and pierced conical top. 


Length, 26 inches; height, 30 inches. 


120—Venetian Parnrep anv Gitpen Wrovenr-1ron Bracket LaNrTERN oF 
THE SixTeentH CrenTuRY 
Hexagonal glazed lantern with pierced, scrolled wings at angles, and 
repoussé gadrooned cresting. Pear-shaped, domed cover, repoussé with 
flutings and acanthus-leaf panels and finials formed as a Putto carrying 
a palm branch. Pear-shaped base, repoussé with flutings and acanthus- 
leaf panels, supported by three flying Putti. Supported by cylindrical 
stem and curved bracket of bar iron appliqué with wrought-iron leaves 
and tulip blossoms. Height, 471/, inches. 


Note: This lantern originally formed part of the Bucentoro, or Doge’s State Barge, 
and was in the Simonetti Collection, Rome. 


121—Parr or Venetian WrovucutT-IroN BrackETS OF THE SEVENTEENTH 
CENTURY | 

Brackets of scrolled iron rods enriched with wrought-iron flowers, leaves 

and tendrils and terminating in flower and leaf candle-sockets. Painted 


and gilded. 
Height, 22 inches; length, 25 inches. 


122-FLorENTINE WrovuGHT-IRON BASIN-STAND OF THE SIXTEENTH CENTURY 


Tripod form, with curved strap-iron legs and straight feet, enriched with 
voluted scrolls and tendrils of wrought iron. Basin holder of scrolled 


and voluted strap-iron. 
Height, of candelabra, 28 inches. 


123—F LorENTINE WrovcuHtT-iron Bastn-sTAND OF THE Earty FIrreENTH 
CENTURY 
Octagonal iron standard with ball knops, on tripod legs of trefoil-curved 
iron bars, terminating in three straight arms of strap iron with straight 
turned-up ends. 


124—Frencn WrovcutT-iIron WEATHER-VANE OF THE FIFTEENTH CENTURY 
Tapering cylindrical shaft, terminating in fleur-de-lis shaped finial 
and flag-shaped pierced vane. Below are two rings formed as pierced 
and shaped crowns, four branches of iron rods with wrought-iron | leaves 


and flowers and base of wrought-iron leaves. 
Height, 48 inches. 


125—Irattan Wrovucnt-iron TorcHERE or THE FirreentH CENTURY 
Cylindrical stem with three ball knops, the upper portion spirally in- 
cised ; conical base and tripod stand of three straight legs, with pointed 
hooked terminations and flat, leaf-shaped feet. Above is a conical 
basket with sides of spirally twisted bars supporting a flat serrated 


ring and enclosing a pointed pricket. 
Height, 47 inches. 


(Illustrated) 


126—Parr or FLorRENTINE WrovucGHutT-Iron TorcHERES OF THE FIFTEENTH 
CENTURY 


Cylindrical standards of iron rods with ball knops, on tripod ae of 
straight iron bars with wrought knees decorated with iron balls and 
circular quatrefoiled feet. Above are flat rings of later date with scal- 
loped edges and aprons supported by three curved and spirally twisted 
iron bars. 
Height, 60 inches. 
(Illustrated) 


126 


127—Par or Wrovent-iron Torcarires oF THE FirrEENTH CENTURY 
Spirally twisted, cylindrical stems, with saucer-shaped bobéches, having 
serrated edges, square candle-sockets of strap iron and four curved 


legs of iron rods ending in flattened feet. 
Height, 6514, inches. 


(Illustrated) 


128—FLoRENTINE Wrovucut-IRON STAND OF THE SIXTEENTH CENTURY 


Baluster-shaped stem of wrought iron, banded at intervals with beaded 
knobs terminating in semicircle top of bar iron which supports four 
(one missing) baskets formed of iron rods, on tripod base formed of 
three curved legs of iron bars with straight rectangular feet. | 


Height, 5614, inches. | 
(Illustrated) 


129—Pair or FLORENTINE Brass AND IRON ANDIRONS OF THE SIXTEENTH CEN- | 
TURY ; 
Strap-iron standards on voluted strap-iron feet, terminating in spirally 


: 

; 

fluted brass balls with mask terminals. | 
Height, 211% inches. 

: 


180—Patr or Iratran WrovucnHt-1ron ANDIRONS OF THE FIFTEENTH CEN- 
TURY 


Strap-iron standards, with three projecting hooks and.curved strap-work 
supports on round arched feet of strap iron. Above are spirally twisted 
stems terminating in conical brackets, with sides of three straight bars 
supporting flat rings. 

Height, 231 inches. 


1381—FLorRENTINE WrovucurT-tron Fire Guarp OF THE FIFTEENTH CENTURY 


Square standards of iron rods with quatrefoil scrolled knops of strap 
iron, terminating in baskets of twisted iron rods, on trefoil scrolled feet 
of flat iron. Top bar enriched with flowers of wrought iron and central 


cross-shaped finial. 
Height, 35 inches; width, 46 inches. 


Lol 


8c1 


LOL 


182—FLorENnTINE WrovcutT-1ron Fire Guarp oF THE FIrTEENTH CENTURY 
Standards of iron bars with voluted brackets of strap iron, ends of 
spirally twisted iron and terminations of baskets formed of alternately 
plain and spirally twisted iron bars. The lower cross-bar ending in 
volutes, the upper with floral and leaf finial flanked by strap-iron volutes. 


Height, 42 inches; width, 48 inches. 


133—FLorENTINE WrovucuHtT-tron Fire Guarp oF THE FIFTEENTH CENTURY 


Standards of iron bars with voluted brackets of strap iron on arched 
feet of flat iron incised with a herring-bone patterning and terminating 
in brackets formed of alternate spirally twisted and flat iron bars with 
hooks, supporting spirally twisted iron rings. Lower and upper hori- 
zontal bars of strap iron, the upper one with two serpentine double hooks 


flanking a floral finial of strap iron. : 
Height, 38°, inches; width, 51 inches. 


1384—FLorENTINE WrovcutT-tron GaTE OF THE SIXTEENTH CENTURY 
Hinged gate with side fences, forming a semicircle. Gate of strap iron 
and square bars forming a series of panels filled with voluted scrollings 
and with a cresting of wrought-iron trefoils. The side panels are fash- 
ioned of strap iron and square bars with wrought-iron knops, trefoil 
crestings and bands, above and below, of scrolled strap iron. Above are 
four pierced finials of bronze of spherical form with ball terminations. 


Height, 50 inches; width, 59 inches. 


185—FiLorentTINE WrovucutT-iron GATE OF THE SIXTEENTH CENTURY 
Rectangular shape, in two leaves, with hinges at the sides. Formed of 
vertical iron bars with bands above and below, filled with voluted scroll- 
ings of strap iron. Crest of wrought-iron spikes supported by voluted 
scrollings of strap iron and separated by turned vase-shaped finials of 


bronze. Painted. Height, 66 inches; width, 59 inches. 


136—-Pair or VENETIAN LANTERNS OF THE SEVENTEENTH CENTURY 
Cylindrical standards, with molded knops on tripod stands of scrolled 
strap iron and voluted fect, supporting, on three wrought-iron brackets 
of oak-leaf design, tapering square lanterns with glazed sides, framed 
with moldings and with acanthus leaf-carved voluted scrolls. Domed 
tops, with four scrolled and voluted side brackets supporting gadrooned 
and carved flame finials. Ironwork gilded, woodwork painted and gilded. 


Height, 127 inches. 


137—Tuscan Iron anp Wrovucnt-1ron Sipe TABLE OF THE SIXTEENTH CEN- 
TURY | 

Mahogany top, with paneled apron. Spirally turned legs of strap iron, 

with apron of heart-shaped floriated and voluted scrolls of wrought 

iron. Height, 36 inches; length, 60 inches; width, 37 inches. 


TEXTILES 
188—VENETIAN Douu’s Dress oF THE SEVENTEENTH CENTURY 
Of white silk, printed in colors with a patterning of floral sprays and 
feathers. Trimmed with silk braid and linen lace. Bodice and skirt 


In one. Length, 111% inches. 


139—VenetTiAN Doww’s Dress oF THE SEVENTEENTH CENTURY 
Of rose-colored silk with white satin sleeves. Embroidered, in colored 
silks, with fleurettes. Trimmed with silk lace and spangles, and fin- 
ished with gold lace. Bodice and skirt in one. Ry PEE Chey 


140-—-VENETIAN Douu’s Dress oF THE SEVENTEENTH CENTURY 


Of white satin, trimmed with silver and linen laces and spangles. Bodice 


and skirt in one. 
Length, 12 inches. 


141—VENETIAN Dotuu’s Dress oF THE SEVENTEENTH CENTURY 


Of rose-colored silk, trimmed with silver lace and spangles. Bodice and 


skirt in one. 
Length, 13 inches. 


142—Venerian Doxt’s Dress or THE SEVENTEENTH CENTURY 
Of pale green silk, elaborately embroidered, in colored silks and in chain 
stitch, with floral sprays and trimmed with gold lace. Bodice and 
skirt in one. 
Length, 16 inches. 


143 


VENETIAN Douu’s Dress oF THE SEVENTEENTH CENTURY 


Of white satin, embroidered, in colored silk, with floral sprays. Spangled 
and trimmed in gold and linen lace. Bodice and skirt in one. 
Length, 17 inches. 


144—-VENETIAN Dotut’s Dress or THE SEVENTEENTH CENTURY 


Of white satin embroidered, in colored silks and spangles, with a flower 
and leaf design, and with an applied border of diamond pattern em- 
broidered with spangles. Trimmed with linen and gold lace. Bodice 
and skirt in one. 

Length, 17 inches. 


145—VENETIAN Doww’s Dress or THE SEVENTEENTH CENTURY 


Of rose-colored satin damask. Paneled with silk brocade woven, on a 
rose-colored ground, with gold and silver thread and colored silks and 
trimmed with gold and linen lace. Bodice and skirt in one. 


Length, 17 inches. 
146—VENETIAN Douw’s Dress oF THE SEVENTEENTH CENTURY 


Of rose-colored silk, embroidered, in white silk and in chain stitch, with 


floral sprays. Trimmed with lace and finished with linen lace. Bodice 
and skirt in one. 
Length, 17 inches. 


147—VENETIAN Douu’s Dress oF THE SEVENTEENTH CENTURY 


Of white silk embroidered, in silver thread and colored silks, with flowers 
and scrolls, and with a raised scrolled and diapered border in silver 
thread. Trimmed with linen lace. Bodice and skirt in one. 


Length, 18 inches. 


148—VeENETIAN Dotwu’s Dress OF THE SEVENTEENTH CENTURY 


Of changeable silk (gray shot with yellow). Embroidered in colored silks 
and spangles with fleurettes and floral scrolls. Trimmed with silver lace. 


Bodice and skirt in one. 
Length, 19 inches. 


149—VeEneETIAN Doxww’s Dress oF THE SEVENTEENTH CENTURY 


Of brown silk, embroidered with silver thread; spangled and trimmed with 


silver and linen lace. Bodice and skirt in one. 
Length, 20 inches. 


150—VenetiaN Doti’s Dress or THE SEVENTEENTH CENTURY 


Of white silk, embroidered in gold thread and spangles, and trimmed 


with gold lace. Bodice and skirt in one. 
Length, 20 inches. 


151—Venetian Douu’s Dress oF THE SEVENTEENTH CENTURY 
Of white satin embroidered in tinsel, and with a floral border embroid- 
ered in colored silks. Trimmed with gold lace. Bodice and skirt in one. 


Length, 21 inches. 


152—VenetiAN Doww’s Dress OF THE SEVENTEENTH CENTURY 
Of yellow satin, spangled with silver stars and trimmed with linen and 


silk lace. Bodice and skirt in one. 
Length, 22 inches. 


153—Vewnetian Dour’s Dress oF THE SEVENTEENTH CENTURY 
Of flame-colored silk, trimmed with gold lace and spangles. Bodice and 


skirt in one. 
Length, 22 inches. 


154—Venetian Doti’s Dress oF THE SEVENTEENTH CENTURY 
Of silk brocade woven, in white silk, with a pattern of scrolls and flow- 
ers, on a purple ground and trimmed with plaited white silk and gold 
and white silk braid. Bodice and skirt in two pieces. 


Length of bodice, 11 inches. 
_ Length of skirt, 29 inches. 


155—Venetian Dotr’s Dress or THE SEVENTEENTH CENTURY 
Of white silk, embroidered with purple silk and gold and silver spangles. 
Trimmed with purple and green ribbon and imitation pearls and lace. 
Bodice and skirt in one. | 
Length, 31 inches. 


156—FLorRENTINE DoLL oF THE SIXTEENTH CENTURY 


Doll of wood and papier-maché, with dark hair. Dressed in a robe of 
white silk banded with silk brocade and trimmed with festoons of mock 
pearls, tinsel braid and gold fringe. Openwork stockings. Dress in 
one piece. 

Height, 37 inches. 


157—FLorENTINE Do. OF THE SIXTEENTH CENTURY 


Doll of wood and papier-maché, with original fair hair. Dress of silk 
brocade, woven, on a white ground and in colored silks, with a pattern 
of quatrefoil panels of floral sprays and of floral scrollings. White 
satin shoes. Dress in one piece. 

Height, 48 inches. 


158—Irartian VELVET CUSHION OF THE SEVENTEENTH CENTURY 


Rectangular shape, covered in old crimson velvet, finished with lace 
worked with silver thread. | 
Height, 20 inches; width, 18 inches. 


159—I rattan CutT-vVELVET CUSHION OF THE SEVENTEENTH CENTURY 


Rectangular shape, covered with red and green velvet cut in a pattern- 
ing of stripes of roses and leaves, buds and rosettes and diamonds, on 
a white silk ground. Signed on selvage: “Ardizzoni in Genoa.” 


Height, 19 inches; width, 24 inches. 


160—Set or Five Genorse Cur Jarpinikre Vetver Cuarr Covers oF THE 
SEVENTEENTH CENTURY 

Covers, shaped to seats, of Genoese jardiniére varicolored velvet cut 

in a pattern of bouquets of flowers tied with ribbons and of floral sprays 


on a white silk ground. 
Height, 19 inches; width, 21 inches. 


161—Irauian Cur-vetver CusHion oF THE SEVENTEENTH CENTURY 


Rectangular shape, covered in red and green velvet, cut in a pattern 
of scrolled flowers, leaves and tendrils on a white silk ground. Marked 


on selvage: “Ardizzoni in Genoa.” 
Height, 21 inches; width, 23 inches. 


162—FLorRENTINE Sitk BrocapE CusHION oF THE SEVENTEENTH CENTURY 


Rectangular shape, covered with silk brocade, woven in gold thread in 
a pattern of floral and leaf meanders and floral scrolls on a rose-colored 


ground. Finished with gold fringe. 
Height, 21 inches ; width, 22 inches. 


163—Ser or Turee Irauian Emprormerep Sitk CusHions oF THE EicuH- 
TEENTH CENTURY 

Rectangular shape, covered with white silk embroidered, in gold thread 

and colored silks, with an all-over patterning of scrolls, carnations, roses 


and pointed leaves. Finished with looped fringe of gold thread. 
Height, 22 inches; width, 25 inches. 


164—I rattan VELVET CUSHION OF THE SEVENTEENTH CENTURY 
Rectangular shape, covered in old crimson velvet and finished with gold 


thread galloon. Height, 18 inches; width, 30 inches. 


165—Iratian EmproipErep EscuTrcHEON OF THE SEVENTEENTH CENTURY 


Scrolled escutcheon, with border embroidered in gold and silver thread. 
Charged with a coat-of-arms embroidered, in colored silks and gold and 
silver threads, with fields of red and dark green velvet. Surmounted by 
a coronet embroidered in gold thread. Fee) aiinchon pres gi als anches. 


166—Frame or Coptic EmproipEries oF THE FourTEENTH CENTURY 
Collection of Coptic embroideries, chiefly in colored wools on linen, of 
the fourteenth century. Glazed and framed. 
Height, 24 inches; width, 371% inches. 


167—Two Srrivs or Frorentine Sik Emprorery oF THE SIXTEENTH CEN- 
TURY 

Rectangular strips of cream-colored silk embroidered, in colored silks, 

with scrolls of acanthus leaves and flowers. Finished with gold fringe 


and lace. Height, 7 inches; length, 91 and 84 inches. . 


168—Iratian SILK-EMBROIDERED TABLE CovER OF THE SEVENTEENTH CEN- 
TURY 
Rectangular shape. Embroidered, with colored silks, in cross stitch, on 
coarse linen canvas, with a vase of flowers and birds on a diapered 
ground. Above a band of panels, enclosing four sprays. Below, a panel 
embroidered with the date 1621.” Length, 49: inches; ottoman 


169—Cortic Empromwerep Linen Datmatic oF THE FouRTEENTH CENTURY 
Dalmatic of linen embroidered, in colored silk on fine linen, with shoulder 
tabs and two medallions. Glazed and framed. 


Fleight, 44 inches; width, 31 inches. 


170—FLorENTINE SILK BrocapE Corre or THE SEVENTEENTH CENTURY 


Semicircular in shape, with detachable spade-shaped hood. Of silk bro- 
cade woven, with colored silks, in a pattern of scrolls, flowers and floral 
sprays, on a light green ground. Headed with a band of green satin 
and finished with borders of gold galloon. 


Height, 51 inches; width, 96 inches. 


171—Irauian Stix BrocapE Taste Cover oF THE SEVENTEENTH CENTURY 


Rectangular shape. Woven in a pattern of scrolled pointed leaves, 
diapers and floral sprays, in white, on a purple ground and finished with 
gold thread galloon. 2 

Length, 96 inches; width, 59 inches. 


172—-GENOESE CUT-VELVET PorTIERE OF THE SIXTEENTH CENTURY 
Rectangular shape. Four breadths of crimson velvet, cut in a “‘repeat” 
pattern of scrolled acanthus leaves, forming heart-shaped panels filled 
with conventional flowers and of floral sprays and birds, on a pale yellow 
silk ground with traces of gold thread enrichments. 


Height, 102 inches; width, 79 inches. 


1738—Torkisu Vetiver Rue or THE EIGHTEENTH CENTURY 


Of Scutari weave of velvet with field patterned with vertical bands in 
dark blue; broad borders, above and below, of conventionalized cypress 
trees and borders, on either side, of leaf and zigzag patterning. 


Length, 43 inches; width, 24 inches. 


174—Frencuo Carpet oF THE EIGHTEENTH CENTURY 


Of Aubusson weave. Field with a quatrefoil center medallion of black, 
patterned with a floral bouquet and sprays in colors and with a buff 
ground dotted with varicolored floral sprays. Main border patterned 
with varicolored floral sprays tied with blue ribbons on a yellow ground 
enclosed in a frame of scrolls in yellow and brown with scrolled car- 
touches at the corners, enclosing varicolored flowers on a white ground. 
Plain outer border of green. 


Length, 21 feet 2 inches; width, 14 feet 4 inches. 


SECOND AND LAST AFTERNOON’S SALE 


FRIDAY, MAY 2, 1919 
AT THE AMERICAN ART GALLERIES 


BEGINNING PROMPTLY AT 2.30 O'CLOCK 


MIRRORS AND FRAMES 


175—VeENETIAN Patntep Tortet Guass OF THE EIGHTEENTH CENTURY 


Rectangular glass, in molded frame with vase finial, swinging between 
curved brackets. 


176—VENETIAN Mirror oF THE SEVENTEENTH CENTURY 


Rectangular-shaped mirror, with painted border of quatrefoil aes the 
spandrels filled with varicolored floral patternings on a red ground. 
Molded frame, painted in trefoil panels of red and black surrounded 
by gold scrollings on a black ground. Adjustable sliding cover, painted 
on a black ground with gold scrollings, and an almond-shaped cartouche, 
enclosing a hawk, perched on a bough. The back is of glass, painted 
with a panel of pointed-leaf design surrounded by scrolled leaves and 
carnations on a red ground and surrounded by a varicolored floral 


border on a red ground. 
Height, 11% inches; width, 9°/ inches. 


177—Pare or Mirrors with Carven, Painted And GitpED Woop FRAMEs oF 
THE EIGHTEENTH CENTURY 
Octagonal shape, in ‘molded frames, carved with bead and reed and 
beaded borders, and with pierced and carved, scrolled and acanthus- 
leaf crestings and aprons. Painted white and gilded. 


Height, 24 inches; width, 19 inches. 


178—Pair oF VENETIAN CARVED AND GILDED Woop “AprpLliquEsS” OF THE 
EIGHTEENTH CENTURY 


Shield-shaped mirrors with molded frames, pierced and carved with ro- 
coco scrollings and floral sprays, finials in designs of scrolled shells, and 
aprons as satyrs’ masks. Curved arms of wrought iron with leaves and 
tendrils, supporting cylindrical candle sockets. Completely gilt. 


Height, 20 inches. 


179—Pair or VENETIAN CARVED AND GILDED Woop “‘ApPLieursS” OF THE 
EIGHTEENTH CENTURY 


Similar to the preceding. 
180—Patr or VENETIAN CARVED AND GILDED Woop “AppLuiguEs” OF THE 
EIGHTEENTH CENTURY 
Similar to the preceding. 
181—Patr or VENETIAN CARVED AND GILDED Woop “AppLievuEs” OF THE 
EIGHTEENTH CENTURY 


Similar to the preceding. 


182—Parr or VENETIAN Carvep, Painren anp Ginpep Woop “Appruieuts” 
OF THE EIGHTEENTH CENTURY 
Shield-shaped mirrors, with frames carved with acanthus leaves, inter- 
lacements and volutes, and with molded and arched pediments, sur- 
mounted by female busts, carved leaves and festoons, and with voluted 
aprons. Frames painted with floral sprays on a yellow ground and 


gilded. (One mirror cracked.) 
Height, 38 inches; width, 27 inches. 


ITALIAN FURNITURE 
Mainly of the Sixteenth Century 


1838—Unmerian Watnoutr Miniature CuHest oF DRAWERS OF THE SIXTEENTH 
CENTURY 


Rectangular molded top, supported by spirally turned columns at angles. 
Frieze fitted with drawers, and body with three molded paneled drawers. 
Molded base and pedestal feet with brackets. 

Height, 111% inches; length, 161% inches; width, 7 inches. 


From the Volpi Collection. 


184— Tuscan Girt Watnur MINIATURE CABINET OF THE SIXTEENTH CENTURY 
Rectangular shape, with broken tablet-shaped front, molded cornice and 
base, and plain plinth. Arranged as a cupboard with two hinged doors, 
having three sunken and molded panels, with bronze masks in the center 


of panels. Marbleized with moldings picked out with gold. 


Height, 25 inches; breadth, 17 inches; depth, 71, inches. 


185—FLorENTINE Watnut Correr OF THE SIXTEENTH CENTURY 
Rectangular shape, with hinged, domed, molded and carved lid, fluted and 
gadrooned sides, molded base and turned ball feet. Fitted with com- 
partments. Wrought-iron hasp. 
Height, 15 inches; length, 22 inches; width, 15 inches. 


186—Tuscan Painrep anp GitpED Woop PEDESTAL OF THE SIXTEENTH CEN- 
TURY 
Rectangular shape, with molded cornice and base. The sides and ends 
have sunken panels decorated, on a green ground, with painted acanthus- 
leaf scrollings and trefoils. Painted and gilded. 


Height, 4°, inches; length, 15 inches; width, 81/, inches. 


187—Encusu Manocany Suavinc Taste oF THE EIGHTEENTH CENTURY 
Rectangular shape, with turned columnar supports at the angles. Top, 
with marble slab, fitted with shallow drawer and rising mirror. Shelf 
below, also with marble slab, fitted with drawer having two wooden knobs. 


Shaped stretcher shelf. 
. Height, 421%, inches; length, 17 inches; width, 17 inches. 


188—EncuisuH Painrep Satinwoop Work TaBLe oF THE EIGHTEENTH CEN- 
TOR Ye | 
Circular top, with hinged lid and plain frieze; three rectangular tapering 
legs on triangular base with incurved sides. Top fitted with tray having 
compartments for sewing materials and plaited silk bag. Painted with 
Amorini, floral sprays and knotted ribbons. 


Height, 291, inches; diameter, 12 inches. 


189—VENETIAN PaintEeEp Carp TABLE oF THE EIGHTEENTH CENTURY 


Rectangular top, hinged in the center. The inner face bordered with 
walnut and lined with green baize. The exterior painted with a panel 
of green, strewn with playing cards and surrounded by an acanthus-leaf 
border. Apron painted with branches of flowers and leaves and oval 
portrait medallions; cabriole legs, painted with varicolored floral sprays 
on a green ground. 

Height, 29 inches; length, 32 inches; width (when closed), 15 inches. 


190—VeEneETIAN INLaiD Watnut Sipe Taste or THE EIGHTEENTH CENTURY 
Shaped top, inlaid with a panel of interlaced scrollings; plain apron, 
fitted with a drawer; irregular tapering pedestal, inlaid with panels of 
interlaced scrolls. ‘Tripod stand of three scrolled and voluted legs. 


Height, 29 inches; length, 32 inches; width, 1714 inches. 


191—Parr or Travian Watnut Sroots or THE SixTEENTH CENTURY 
Rectangular shape, supported by spirally turned legs with ball feet and 
spirally turned rails. Tops covered with oriental rugs. 
Height, 23 inches; length, 20 inches; width, 14 inches. 


From the collection of Gabriele d’Annunzio of the Villa Capponcina, the celebrated poet, 
who recently has acquired fame as an aviator. 


192—Tuscan Wautnut Monastery Cuair oF THE SIXTEENTH CENTURY 
Formed of two sets of seven square standards, with carved fronts, cross- 
ing and pivoted at the intersection so as to fold. Folding seat and 
shaped back rail, carved with rayed medallions and crosses. 


193—Tuscan Watnut Monastery CuHair oF THE SIXTEENTH CENTURY 
Formed of two sets of seven square standards, crossing and pivoted at 
the intersection so as to fold. Folding seat and shaped back rail, 
stamped with circular medallions and crosses. 


194—Tuscan Watnut Monastery CuHarr OF THE SIXTEENTH CENTURY 
Formed of two sets of seven square standards, crossing and pivoted at 
the intersection so as to fold. Folding seat and shaped back rail, 
stamped with circular medallions and crosses. 


195—Turee Tuscan Watnut CuHairs oF THE SIXTEENTH CENTURY 


Reeded side supports with leaf carved finials. Backs paneled with sunken 
carvings of birds with outstretched wings surmounted by voluted crest- 
ings. One supported by turned spindles; straight, square reeded legs 
and shaped front-rails. Pair covered with old blue velvet and one with 
old crimson velvet, secured by brass-headed nails. 


196—Umeprian Watnutr ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight square paneled back, carved with scrolled acanthus leaves, and 
egg-and-dart molding, having scrolled cresting and acanthus-leaf carved 
finials. Flat, voluted arms on turned baluster supports, straight square 
legs, shaped front rail and wooden seat. ie: 


197—FLorENTINE Watnut ARMCHAIR OF THE SIXTEENTH CENTURY 
Straight square back, with molded and turned bronze finials. Straight, 
flat voluted arms on square baluster-shaped supports, straight square 
legs, with shaped feet, deep front rail, pierced and carved with rosettes, 
scrolls and oval cartouche charged with a painted coat-of-arms. Seat 
and back covered with crimson velvet, finished with cut velvet galloon 


and fluted brass-headed nails. 


198—FLorENTINE WaALNuT CHarIR OF THE SIXTEENTH CENTURY 


Straight rectangular back, with voluted and acanthus-leaf carved finials. 
Carved voluted arms on turned baluster supports, straight square legs, 
deep front rails, pierced and carved in a pattern of interlacements, and 
shaped side rails. Seat and back covered with old brown leather, the 
back tooled in gold with central scrolled shield, charged with the coat- 
of-arms of the Barberini family. Secured with brass-headed nails and 


finished with gold galloon. 


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199—FLorENTINE WatNut ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight rectangular back, with floriated, gilded finials. Straight, flat 
voluted arms on turned baluster supports; turned legs, front and side 
rails. Seat and back covered with leather, tooled in gold. The back 
patterned with a quatrefoil enclosing an Evangelist, and surrounded by a 
border of rosettes and diamonds. Secured with brass-headed nails and 
finished with knotted crimson silk fringe. 


200—FLoORENTINE Watnut ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight square back, with acanthus-leaf carved finials. Straight, flat 
voluted arms on square supports carved with acanthus leaves, straight 
square legs, shaped front, back and side rails. Seat and back covered 
with old crimson velvet finished with knotted silk fringe. 


201—F LorENTINE WatNnut ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight square back, with square side supports and carved, square 
pointed finials. Flat, curved voluted arms on square fluted baluster 
supports. Straight square legs, pierced front rail and square side rails. 
Seat and back of old crimson velvet finished with cut velvet galloon and 
silken fringe. 


202—FLoRENTINE Watnut ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight square back, with carved finials. Straight flat voluted arms 
on square supports, square legs, shaped and pierced front rail and 
shaped side rails. Seat and back covered with old crimson velvet secured 
with brass-headed nails and furnished with silk fringe. 


203—FLoRENTINE WaLNuT ARMCHAIR OF THE SIXTEENTH CENTURY 
Straight square back with acanthus-leaf carved finial, flat voluted arms 
on turned baluster supports, straight square legs and shaped front, back 
and side rails. Seat and back covered with old crimson velvet finished 
with knotted silk fringe. 


204—FLorRENTINE Watnut ARMCHAIR OF THE SIXTEENTH CENTURY 
Straight rectangular back with fluted finials, carved flat voluted arms 
on square supports, straight square legs, deep pierced and carved front 
rail and square side and back rails. Seat and back covered with old 
crimson velvet, secured with brass-headed nails and finished with silk 
fringe. 

205—Ser or Tuscan Watnur SETTEE AND Two Cuairs oF THE KIGHTEENTH 

CENTURY 

Settee with three chairbacks. Chairs with open backs, top rails shaped 
as voluted pediments, turned spindle splats, turned finials; turned legs, 
front and side rails. Seats covered with Genoese red velvet of the eigh- 
teenth century, cut in a pattern of flowers and scrolls on a yellow ground 
with traces of gold thread, finished with knotted fringe. 


206—FLorRENTINE Watnutr TABLE OF THE SIXTEENTH CENTURY 
Rectangular top with molded and carved edge, and paneled apron fitted 
with drawers, with turned wood knobs. Four turned baluster legs, and 
square side, front and back rails. | 
Height, 23 inches; length, 2714, inches; width, 25 inches. 


207—Tuscan Watnut TABLE OF THE SIXTEENTH CENTURY 


Rectangular top, with molded edge and frieze. Carved with overlapping 
disks, fitted with drawers, flanked by rosetted dies and supported by 
scrolled brackets. Turned tapering legs with fluted upper portions, 
beaded rings and fluted ball feet. 


Height, 301% inches; length, 40 inches; width, 24 inches. 


From the Davanzati Palace Collection. 


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208—Umeprian Watutnout TABLE OF THE SIXTEENTH CENTURY 


Rectangular. Sunken, paneled top, with molded edge. Apron paneled 
and fitted with drawers with wooden knobs. On vase-shaped supports 
and shaped cross feet. 

Height, 251/, inches; length, 25 inches; width, 19 inches. 


From the Stephano Bardini Collection, No. 582. 


209—Tuscan Watnut Music Stranp or THE SixTEENTH CENTURY 
Rectangular revolving top, paneled with crimson velvet and with molded 
edges. Paneled frieze carved with musical trophies, flutings and fes- 
toons. The top is supported by four curved brackets carved with acan- 
thus leaves, the upper part of pedestals is carved as the trunk of a palm 
tree, the lower part turned in baluster shape. Cross-shaped base, formed 
of four consoles carved with acanthus leaves. 


Height, 40 inches; length, 32 inches; width, 24 inches. 


210—-FLORENTINE Watnut ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight back with carved finials, straight flat arms with voluted and 
under-curved ends on square supports. Straight square legs, with deep 
shaped, pierced and carved front rail with central quatrefoil medallion 
carved with armorial device. Shaped side and back rails. Seat and 
back covered with old crimson velvet secured with ornamental brass- 
headed nails and finished with knotted silk fringe. 


211—Patir oF FLoRENTINE WALNUT ARMCHAIRS OF THE SIXTEENTH CENTURY 
Straight rectangular backs, with acanthus-leaf carved finials. Flat 
straight voluted arms on turned baluster supports, turned legs, deep, 
rectangular front rails carved in low relief with birds, leaves and houses, 
square side and back rails and ball feet. Seats and backs covered with 
old purple velvet, finished with silk fringe. : 


212—FLoreENTINE Watnutr ARMCHAIR OF THE LATE SIXTEENTH’ CENTURY 


Straight square back with rounded top, curved, molded, carved and vo- 
luted arms, turned baluster supports, turned legs, side rails and stretcher. 
Seat and back covered with contemporary tapestry, the back in a design 
of a queen presenting a wreath to a warrior, the seat in a design of 
leaves and fruits. Finished with silk fringe. : 


2?13—FLoRENTINE WaLtnut CHAIR OF THE SIXTEENTH CENTURY 


Straight, rectangular back with voluted and acanthus-leaf carved finials. 
Carved voluted arms on turned baluster supports, straight square legs, 
deep front rails, pierced and carved in a pattern of interlacements and 
shaped side rails. Seat and back covered with old brown leather, the 
back tooled in gold with a central scrolled shield, charged with the coat- 
of-arms of the Barberini family. Secured with brass-headed nails and 
finished with gold galloon. 


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214—FLorENTINE Watnutr ArmcHuarr oF THE LATE SIxTEENTH CENTURY 


Straight rectangular back, with fluted, voluted and_ gilded finials; 
straight, flat voluted arnis, on turned baluster supports, straight square 
legs, deep front rail, carved with scrolls and an escutcheon, surmounted 
by a Bishop’s hat, and straight base rails with paw terminals. Seat and 
back covered in sixteenth century tapestry in design of a basket of fruit 
and flowers, and birds, surrounded by twisted ribbon borders. Finished 
with silk fringe. 


215—FLoORENTINE Watnur ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight square back, with finials carved as masks. Straight, flat voluted 
arms on turned supports, straight square legs, deep front rail carved 
with acanthus leaves and scrollings, and square side rails. Seat and 
back covered with crimson velvet, secured by cut velvet galloon. 


216—FLorENTINE Watnut CHair OF THE LATE SIXTEENTH CENTURY 


Straight shaped back, curved, molded and voluted arms on turned bal- 
uster supports, turned legs, front rails, side rails and stretcher. Seat 
and back covered with contemporary tapestry, the back in a design of 
a bear hunt with one huntsman on horseback and one on foot, the seat 
in a design of a vase of fruits and flowers. Secured with brass-headed 
nails. 


217—Umerian Watnutr ARMCHAIR OF THE SIXTEENTH CENTURY 


Straight square paneled back carved with oval cartouche surmounted by 
opposed birds, and with shaped cresting. Molded side supports with 
carved, voluted finials, flat and voluted arms, on molded square supports 
and legs, shaped front rail, square side rail and wooden seat. 


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218—Parr or Frencuo Watnut ArMCHAIRS OF THE EIGHTEENTH CENTURY 


Rectangular backs with molded and carved frames. Curved, molded arms 
terminating in birds with outstretched wings on carved molded supports, 
carved with pointed leaves, incurved seat fronts carved with scrolled 
masks and husk pendants, and tapering, horizontally fluted legs with 
claw and ball feet. Seats and backs covered with eighteenth century 


French silk brocade. 


219—Irarian Carvep, Piercep anp Patntep Woop Basr oF THE SEVEN- 
TEENTH CENTURY 
Rectangular shape. Top with molded edge and molded base. Sides and 
front panel pierced and carved in a design of acanthus-leaf scrolling. 
Moldings painted; carved panels, gilded. 
Height, 111% inches; width, 50 inches; depth, 10 inches. 


220—Pair or Tuscan GinpED Watnut PEDESTALS OF THE SIXTEENTH CEN- 
TURY 

Sgabello type. The front supports, shaped, pierced and carved in relief 

with masks, husk pendants and volutes, are connected, by turned bars, 

with the shaped back supports, the inner surfaces of which are incised 

with volutes and pendants. These supports terminate in an incurved 


and molded pedestal. Carving heightened by gilding. 
Height, 49 inches. 


(Illustrated) | : 


221—Pair oF FLorENTINE CarvED AND GILDED WaALNuT PEDESTALS OF THE 
SIXTEENTH CENTURY 

Sgabello type. Molded rectangular tops with tapering square pedestals, 
carved with masks. Front supports carved with fruit festoons, acanthus- 

leaf scrollings, masks and paw feet, connected with back supports by 
acanthus-leaf carved spindles. Back supports shaped and _ incised. 
Carving heightened by gilding. | 
Height, 53 inches. 

(Illustrated) 


222—TrariAn Carvep AND GiLtpED Woop PEDESTAL OF THE SEVENTEENTH 
CENTURY 
Sgabello type. The front support, shaped, pierced and carved in relief 
with a scrolled escutcheon enclosing a coat-of-arms, husk pendants. and | 
volutes, is connected, by a scrolled bar with the shaped back support, | 
the inner surface of which is incised with volutes and pendants. These 
supports terminate in a molded pedestal, the front of which is carved 
with a lion’s mask. Completely gilded. | 


(Illustrated ) 
223 


VENETIAN PatntTeEpD PSALTERY OF THE SIXTEENTH CENTURY 


Rectangular shape, with sloping side and hinged lid. Painted on a white 
ground in colors, the exterior of lid with a stone vase of flowers, sur- 
rounded by a wreath of vine leaves, the front and sides of festoons of 
flowers and knotted ribbons. The interior of lid with an oval painting, 
later date, representing a landscape and buildings surrounded by a 
wreath of roses and with sprays of vine leaves in the angles. Wrought- 
iron harp. 


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Height, 5 inches; width, 29 inches; depth, 12 inches. 


Note: The Psaltery, or “Sautrie’* as Chaucer called it, was the stringed instrument 
of music that preceded the Clavichord, invented in the fifteenth century, and from 
which it chiefly differed in the absence of keys. This particular instrument was once 
the property of Gioachino Rossini (1792-1868), the great composer, by whom it was 
given to Cavaliere Crisostorno Ferrucci, Librarian of the Laurentian Library in Florence. 
From his descendant, Signora Giulia Ferrucci, it passed into the possession of its 
present owner. Legal documents setting forth these facts accompany the Psaltery. 


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224—VENETIAN Patnrep Desk oF THE EIGHTEENTH CENTURY 


Rectangular shape. Upper portion with sloping hinged fall front, the 
interior fitted with two drawers and shelf. Lower portion with serpentine 
front arranged as a cupboard with shelf and two hinged doors. On 
cabriole legs. Painted, on a white ground, with varicolored branches 
of flowers and leaves and with floral pendants. Fall front of desk with 
scrolled keyhole escutcheon in repoussé silver. 


Height, 411% inches; width, 271, inches; depth, 16 inches. 


225—Patir or VENETIAN CarRVED AND PAINTED Woop ConsoLeEs OF THE EARLY 
EIGHTEENTH CENTURY 


Rectangular, serpentine frosted tops with molded edges supported on 
brackets formed of two voluted and carved rococo scrolls and with 
aprons carved and pierced with rococo scrollings. Both brackets and 
aprons are carved in relief with branches of leaves. Gilded and painted 
with floral sprays in colors, on cream-colored grounds. Marbled tops. 


Height, 29 inches; width, 40 inches. 


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226—VENETIAN LacauERED ComMMODE oF THE EIGHTEENTH CENTURY 


Rectangular shape, with serpentine front. Top with molded edge and 
body with two drawers on cabriole legs. Decorated, on a green ground, 
with scrolls and floral sprays in raised gold lacquer and with shaped and 
scrolled panels, painted with varicolored bouquets of flowers on cream- 
colored ground. Almond-shaped beaded keyhole escutcheon of brass. 


Height, 3114 inches; width, 35 inches; depth, 17 inches. 


227—VENETIAN CarVED AND GILDED PEDESTAL CUPBOARD OF THE SIXTEENTH 
CENTURY 
Rectangular shape. Top with molded edge carved with semi-rosette and 
molded base, carved with leaf ornamentation. Arranged as a cupboard 
with two hinged doors, with sunken molded panels, enclosing oval molded 
and carved medallions, with voluted angles. One door divided and hinged 
in the center. Carving heightened with gilding, 


Height, 23 inches; width, 50 inches; depth, 181/, inches. 


298 Venetian CarRVED aND GitpED Woop ConsoLe TaBLe or THE EicH- 
TEENTH CENTURY 
Rectangular top, with molded wooden edge inset with slab of veimed 
marble. Scrolled apron carved with floral sprays, molded cabriole legs 
carved with acanthus leaves and flowers at the knees and voluted feet 
carved with acanthus leaves. Completely gilded. 


Height, 35 inches; width, 35% inches; depth, 22 inches. 


229—VeENETIAN LACQUERED CoMMODE OF THE EIGHTEENTH CENTURY 
Rectangular shape. Serpentine top, with molded edge, serpentine front 
with two drawers, shaped apron and cabriole legs. Painted, on a green 
ground latticed in black, with panels bordered by scrolls and floral 
sprays in raised gold lacquer enclosing varicolored paintings of birds 
and flowers on yellow grounds. Marbleized top. 


Height, 36 inches; width, 38 inches; depth, 17 inches. 


(Illustrated) 


230—Iratian Mirror with Carvep AND GitpED Woop FRAME oF THE E1IcGH- 
TEENTH CENTURY 


Rectangular shape. Molded frame, carved with bands of twisted ribbons 
and flutings and with shells and scrolls of acanthus leaves. Completely 
gilded. 


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Height, 35 inches; width, 34 inches. 


— 


231—Umprian Watnut CassonE OF THE SIXTEENTH CENTURY 


Rectangular shape, with hinged lid having molded and carved edge. 
Sunken paneled front with molding carved with bead-and-reel ornament, 
flanked by caryatid figures with leaf-festooned and tapering termina- 
tions. Molded plinth, carved with voluted trefoils and bead-and-reel 
carved base. 


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Height, 18 inches; width, 48 inches; depth, 201, inches. 


232—-SriENESE PaAInTED TABERNACLE FRAME OF THE FIFTEENTH CENTURY 


Tablet-shaped with arched, molded pediment, molded cornice and plain : 
frieze, two fluted pilasters with fluted capitals and plain plinth with 
molded bracket. Painted, as to the pediment, with Sanctus Spiritus 
Dove, as to the frieze, with figures of Saints, and as to the plinth with a 
an “Ave Maria” inscription and escutcheons charged with coats-of-arms. 


Moldings and pilasters gilded. . 
Height, 33 inches; width, 19 inches. 


No. 229—Venetian LaceveRED CoMMODE OF THE EIGHTEENTH CENTURY 


233—SavonaRoLA WaLNut CHAIR OF THE FIFTEENTH CENTURY 


Curule-chair shape, formed of nine double curved square standards, cross- 
ing and pivoted at the intersection so as to close, the front standards 
carved in a pattern of imbrications, adjustable seat and shaped adjust- 
able back rail incised with a border and medallion of small rosettes. ‘The 
square base rails have carved claw terminations. Fitted with cushion of 
old crimson velvet with yellow ground. 


234—SavonaROLA BEECHWOOD CHAIR OF THE FIFTEENTH CENTURY 


Curule-chair shape, formed of nine double curved square standards, 
crossing and pivoted at the intersection so as to close. Adjustable seat, 
shaped flat adjustable back rail and molded base rails. Straight square 
arms, with turned ball ends and loose rings. 


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235—VENETIAN Partntep Revotvinc CHair oF THE EIGHTEENTH CENTURY 


Half-round back with upholstered head rail, supported by turned spindles 
and with straight seat front, revolving on stand of four carved legs. 
Frame painted on a cream-colored ground with leaves, flowers and foliage 
pendants. Seat and head rail covered with old silk brocade, woven on a 
blue ground and finished with fringe of gold thread. 


236—Umpsrian Watnout CHArir OF THE FIFTEENTH CENTURY 


Sgabello type. Open back with carved, scrolled and voluted head rail, 
acanthus-leaf carved central splat and supports carved with female 
caryatids. Octagonal wooden seat with front support carved and pierced 
with voluted scrolls and satyrs’ masks. Shaped back support. 


237—VenetTIAN WatnutT ARMCHAIR OF THE SEVENTEENTH CENTURY 


Straight rectangular back with finials carved as. scrolled shells, and 
gilded, straight, flat voluted arms on turned baluster supports, turned 
legs, front and side rails. Back and seat covered with green silk plush, 
finished with gold galloon and silk fringe, the back with scrolled armorial 
escutcheon in embroidered gold thread. 


238—Set oF Five Venetian Watnut ArMcHAIRS OF THE EIGHTEENTH CEN- 
TURY 

Shield and shaped backs with molded frames, carved, molded and voluted 

arms on curved molded supports, serpentine molded seat fronts and molded 

cabriole legs. Seats and backs covered with old crimson velvet, with 

appliqué borders, embroidered, in colored silk, on yellow grounds with 

floral sprays edged with scrolls in chain stitch and acanthus-leaf scrolls 


in satin stitch. 


239—FLoRENTINE Carved anp GrtpED Watnut ARMCHAIR OF THE SEVEN- 


TEENTH CENTURY 


Straight high back with curved and voluted arms, carved with acanthus 
leaves and strapwork design on curved supports carved with husk fes- 
toons. Turned baluster-shaped legs. Turned front rail with carved 
medallion in center, turned side rails and stretcher. Seat and back 
covered with contemporary tapestry, the back with a design of a lady 
seated under a pavilion; the seat with a vase of flowers in a shaped 
panel. Finished with knotted silk fringe. Carving heightened by 
gilding. 


240—VENETIAN LACQUERED ARMCHAIR OF THE SEVENTEENTH CENTURY 


Straight square back; shaped, scrolled and voluted arms on scrolled 
bracket supports; shaped scrolled legs and shaped, scrolled front and 
side rails and voluted feet. Frame lacquered in gold and colors and 
inlaid with medallions of mother-of-pearl on a black ground with figures 
in Oriental costumes and with floral sprays and pendants. Seat and 
back covered with contemporary needlework point in a design of pome- 
granate and other fruits and large serrated leaves embroidered in colors 
on a black ground, Finished with silk braid and fringe. 


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241—Ser or Venetian Paintep Serrer anp Two Ar 
TEENTH CENTURY 

Chairs with rectangular open backs with rect: 

and carved with scrolled interlacements and fes 
leaves; straight molded square arms on curved 
fronts and square tapering fluted legs. Settee of 
form. Frame painted, on a white ground, with lines, 
borders and leaf pendants. Seats with loose square 
chamois skin and tufted. . 


(I llustrated ) 


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242—Tranian GiLtT SETTEE OF THE EIGHTEENTH CENTURY 


Shaped back, with molded frame carved with twisted ribbon and beaded 
borders, and with a central acanthus-leaf scrolled mask. The bobéche 
is carved to form arms terminating with leopards’ heads and fluted 
acanthus-leaf carved pilasters. The molded apron is carved with a cen- 
tral rosette and acanthus-leaf scrolls on six tapering, fluted and acan- 
thus-leaf carved legs. Seat, back and arms covered with silk brocade 
woven in a design of stripes and floral sprays. 


From the Stefano Bardini Collection. 


(2438—VenetTian Warnvut CuHaisE Loneve or THE EIGHTEENTH CENTURY 


In two portions, fitting together. Head and foot with curved, molded 
and voluted side supports, turned top rails and rectangular horizontal 
splats, shaped, scrolled and shell carved aprons and cabriole legs. Loose 
cushions, covered with red silk damask. 


244—Irattan Carvep anp GinpEpD Woop Mirror FRAME oF THE EIGHTEENTH 
CENTURY 


Rectangular shape with molded, dentelled cornice and frieze carved in 
low relief with scrolls, supported by columns with spirally turned shafts, 
lotus-leaf capitals and molded bases. Plinth carved, in low relief, with 
scrolls and molded base. 

Height, 58 inches; width, 36 inches. 


245—FLoRENTINE Carvep AND GinpED Woop FRAME OF THE SEVENTEENTH 
CENTURY 


Rectangular shape. Molded, carved and pierced with inner border of 
imbrications, bands of fruit, leaf festoons and acanthus-leaf outer border. 
Completely gilded. 

Height, 58 inches ; width, 42 inches. 


246—VENETIAN Painrep CoFrFER-BENCH OF THE SEVENTEENTH CENTURY 


Straight back, with shaped top painted in colors with acanthus-leaf 
scrolls and heraldic eagle. Seat, with hinged lid arranged as coffer. 
Shaped side and front supports, painted with acanthus-leaf rinceaux and 


a heraldic eagle. 
Height, 45 inches; length, 45 inches; width, 13 inches. 


247—VENETIAN CarvepD aND InLAID WaALNuT CaBINET OF THE SIXTEENTH 
CENTURY 
Rectangular shape. Top with molded and carved edge, frieze arranged 
with two drawers, with carved and inlaid paneled fronts, separated and 
flanked by rosetted dies. Body arranged as a cupboard, with two hinged, 
carved and inlaid paneled dors, separated and flanked by inlaid pilasters. 
Molded base and rectangular, carved feet. 


Height, 44 inches; width, 52 inches; depth, 19 inches. 


248—VENETIAN LacauERED AND PatntED CoMMoDE oF THE EIGHTEENTH 
CENTURY 

Serpentine front and cabriole legs. Fitted with three drawers and deco- 
rated with painted panels of bouquets, birds and vases of flowers in 
color on light green grounds, enclosed by scrollings in raised gold lacquer 
and surrounded by painted diaperings on a green ground. Swinging 

loop handles with shaped plates. 
Height, 421%, inches; length, 52 inches; width, 24 inches. 


249—VeENETIAN LAcauErED AND PatnrED ComMoDE oF THE E1cHTEENTH CEN- 
TURY 

Tray top, with shaped gallery and molded marble slab; serpentine front 
shaped apron and cabriole legs; fitted with three drawers and decorated 
with panels surrounded by raised gold lacquered scrolls and occupied by 
bouquets, birds and vases of flowers, painted in colors on red grounds, 
surrounded by a ground of light blue. Swinging looped handles with 
shaped plates and keyhole escutcheons of brass. 


Height, 45 inches; length, 52 inches; width, 21 inches. 


250—VenetTian Lacauerep Tari-ciock Case or THE EIGHTEENT 
Rectangular hood with domed and molded top, ball and spind. 
and arched hinged door flanked by Doric columns. Rectan, 
lum case with arched hinged door with raised molding. Mold 
gular base and bracket feet. Case lacquered, in gold and co 
green ground with Chinoiseries and leaf sprays. Dial face of 
poussé and engraved with acanthus-leaf scrollings and flowers. _ 


(Illustrated) 


No. 250—VENETIAN LAcauERED TALL-cLocKk CASE 
OF THE EIGHTEENTH CENTURY 


251—VENETIAN LACQUERED COMMODE OF THE EIGHTEENTH CENTURY 


Rectangular shape with serpentine front, top with molded edge, and 
cabriole legs. Fitted with three long drawers, with molded paneled 
fronts. Drawer fronts and sides lacquered in gold and colors on a 
black ground with scrolls, birds, floral sprays and rosette pendants, and 
with shaped panels enclosed by raised gold scrolls and occupied by birds, 
flowers and floral sprays and vases of flowers in colors on yellow grounds. 
Shaped and scrolled keyhole escutcheons of bronze. 


Height, 371, inches; width, 57 inches; depth, 251, inches. 


252—VENETIAN LacQuERED COMMODE OF THE Earzty EIGHTEENTH CENTURY 


Rectangular shape, with serpentine front. Top with molded edge, bracket 
feet and fitted with three long drawers. Lacquered, on a black ground, 
in raised and flat gold, with birds, scrolls and floral sprays and with 
shaped panels enclosed by raised gold scrollings and occupied, on yellow 
grounds, with varicolored branches of roses, birds, flowers, archi- 
tectural pedestals and groups of fruits. Top marbleized. Drawers with 
looped, scrolled handles of gilded bronze. 


Height, 41 inches; width, 53 inches; depth, 28 inches. 


253—VENETIAN EmpBossep LEATHER COFFER OF THE SIXTEENTH CENTURY 


Rectangular shape, with domed, hinged lid. Top and front covered with 
leather, secured with brass-headed nails. The leather embossed, as to 
the top, with subject of Orpheus charming the wild animals, and as to 
the front with classical deities. Ends covered with crimson velvet. 
Hasp, looped carrying handles and keyhole escutcheon of wrought-iron. 
Lined with printed linen. 

Height, 23 inches; length, 50 inches; width, 18 inches. 


Note: This coffer was exhibited at the Castel St. Angelo Exhibition of Old leather 
work in Rome in 1911. 


254—FLORENTINE CERTOSINA COFFER OF THE FIFTEENTH CENTURY 


Rectangular shape, with top, sides and molded fall front of walnut. In- 
terior fitted with twelve drawers with carved and molded paneled fronts, 
inlaid in ivory certosina-work in an octagonal diaper, with two cupboards 
having hinged doors also inlaid in a quatrefoil patterning and with an 
open compartment. The dividing stiles are inlaid with ivory in diamond 


patternings. 
Height, 26 inches; width, 45 inches; depth, 151% inches. 


255—Nortu Iranian Wariner Taser oF THE Earty SixTeEENTH CENTURY 


Rectangular plain top, with shaped cross braces and apron fitted with 
two drawers with paneled fronts. Supported by shaped, scrolled and 
voluted brackets and rectangular pedestal, with paneled sides fitted with 
two drawers with paneled fronts. Square, plain base and shaped 
scrolled and voluted feet. 


Height, 32 inches; length, 5114 inches; width, 361% inches. 


From the Stefano Bardini Collection. 


.256—Tuscan Carvep anp InuAIp Watnut PEDESTAL OF THE FIFTEENTH 
CENTURY 


Rectangular shape. Top with molded edge, front with sunken panel, 
surrounded by inlaid border of twisted ribbon pattern and enclosing 
a diamond-shaped panel, inlaid in a pattern of branching flowers and 
leaves and surrounded by a raised molding. The spandrels filled with 
raised scrolled carvings. 

Height, 44 inches; width, 291%, inches; depth, 22 inches. 


From the Davanzati Palace Collection. 


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257—Frencn Carvep AND Parinrep Center Caspinet TABLE OF THE SIX- 


TEENTH CENTURY 


Rectangular shape. Top inlaid with slab of black and white marble with 
molded edge and frieze, carved with floral rosettes and banded acanthus 
leaves. Arranged as a cupboard with hinged, paneled doors in front 
flanked by vertical panels inlaid with chamfered ebony panels and by 
molded panels, separated and flanked by tapering pilasters carved with 
pendants of fruit. The door front and side panels are painted on yellow 
grounds, in green with designs of pointed-leaf interlacements. The end 
and back have painted panels and are arranged with carved pilasters, 
corresponding exactly to those of the front. The panel of the back is 
flanked by two panels of carved shells and pendants and tablets, one 
tablet signed with the name “Frenau, Architecte.” Plain, chamfered and 


broken plinth. 
Height, 36 inches; length, 641, inches; width, 36 inches. 


258—FLoRENTINE WALNUT CABINET OF THE SIXTEENTH CENTURY 


Rectangular shape with molded top and frieze, enriched by circular 
medallions separated by triglyphs and gutte and fitted with two drawers. 
Supported at each side by console brackets with fronts carved with over- 
lapping disks. Body arranged as a cupboard with two hinged and 
molded paneled doors flanked by vertical molded panels. Molded and 


broken base. Height, 36 inches; length, 49 inches; depth, 24 inches. 


From the Stefano Bardini Collection. 


259—Fremisu Intaip Oak Capinet TABLE OF THE SIXTEENTH CENTURY 


Rectangular top of five planks with square edge and apron, with sunken 
molded panels enclosing stars of inlaid woods. Below, sloping sides 
inlaid with toothed borders and decorated with inlaid sunken panels. 
Four flat shaped legs, with shaped and pierced aprons and four keyed 
tenons, on flat base rail with square feet. The apron is inlaid, in 
Roman characters, “IOHANNES GEORG.” Top removes so as to 


give access to a large box or cabinet. 
Height, 34 inches; length, 43 inches; width, 401% inches. 


Note: Though undoubtedly made by a Flemish craftsman, the influence of the 
contemporary Italian School is very apparent. 


260—Dutcu Carvep anp InuAip Watnutr CaBINET OF THE SIXTEENTH CEN- 


TURY 
Rectangular top with molded edge, inlaid with ebony. Carved frieze, 
fitted with long drawer. The front and sides carved with panels of birds 
and scrolled leaves, separated by lions’ heads holding swinging brass 
rings. The body arranged as a cupboard with two hinged doors, having 
sunken paneled fronts with carved moldings, enclosing broken panels with 
raised moldings, ebony inlays and octagonal centers carved with lions’ 
masks. The doors are separated and flanked by detached Doric columns, 
with ebonized shafts, molded capitals and bases, and the sides are paneled 
to correspond. Broken molded plinth with ebony panels, and molded 


base. 
Height, 44 inches; length, 6114 inches; width, 28 inches. 


From the Ferroni Collection at Rome. 


261—-VENETIAN CarRvep WatNut LEcTERN OF THE SIXTEENTH CENTURY 


Rectangular revolving book rest, the top arranged as cupboard with 
sloping sides, one paneled to form book-rest, the other with hinged fall 
front, paneled and carved in relief with human figure terminating in 
scrolled acanthus leaves. Scrolled and voluted cresting carved with 
cherub, and side carved with honeysuckle and imbrications. Standard 
formed as a vase-shaped fluted column, festooned with drapery and with 
voluted capital. On triangular base, carved with fan-shaped leaves and 


with voluted and imbricated consoles at the angles. 
Height, 72 inches. 


262—FLoRENTINE CarveD AND GILDED Woop LEcTEeRN OF THE FIFTEENTH 
CENTURY 


Straight supports, with voluted terminations, crossing diagonally, carved 
with medallions at the intersections and with sunken panels of imbri- 
cated patterning. ‘Turned and gilded cross bars. The front and back 
supports have turned finials and the top rail is carved with voluted 
scrolls and a scrolled escutcheon gilded and painted with a cross. Origi- 
nal leather book support, and adjustable scrolled bronze candle brackets. 


Carving gilded. 
Height, 69 inches. 


263 


IrauiAN Watnut Canopiep CATTEDRA OF THE FIFTEENTH CENTURY 


High paneled back, with canopy having molded cornice and plain frieze 
supported by two shaped brackets. 'The arms are shaped and voluted; 
the seat formed as a box with hinged lid, paneled sides and front and 


molded base. 
Height, 91 inches. 


From the Stefano Bardini Collection. 


(Illustrated) 


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No. 2638—ITatian Watutnut CaANopiepD CATTEDRA 
OF THE FIFTEENTH CENTURY 


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264—Tuscan IntAtin WaAtnut CABINET OF THE SIXTEENTH CENTURY 


Rectangular shape. Top with molded edge carved in Greek wave pat- 
tern, frieze fitted with three drawers having paneled and carved fronts 
inlaid, with light-colored woods in geometrical patterns and flanked and 
separated by square dies carved and inlaid with rosettes. Body ar- 
ranged as a cupboard with two hinged doors paneled, carved with volutes 
and inlaid with star rosettes and triangles of light-colored wood, and 
flanked and separated by pilasters similarly treated. Shaped and carved 
apron and carved block feet. 


Height, 44 inches; length, 52 inches; width, 181% inches. 


265 


Mip-Iratian Watnvut Caspinet oF THE SIXTEENTH CENTURY 


Rectangular shape. Top, with molded and carved edge, frieze arranged 
with two drawers, having plain fronts, wooden knobs and oval medallions, 
separated and flanked by twin modillions with carved fronts and floral 
rosettes between. Below is a cupboard with two hinged. doors paneled 
with raised moldings, oval carved medallion centers and separated and 
flanked by carved pilasters. Molded base, resting on two carved lions’ 


heads. 


Height, 50 inches; width, 64 inches; depth, 20 inches. 


-966—Norru Irauian Watnut CHeEst or THE Earrty FIFTEENTH CENTURY 


Rectangular shape, with plain hinged lid. The front is divided into three 
sunken and molded panels each enclosing carved pointed arch arcading, 
the arches enriched with quatrefoil and trefoil traceries, and those of 
the side panels surmounted by circular rosettes of late Gothic quatrefoil — 
tracery. The ends have two sunken and molded panels enclosing double- 
pointed arches with quatrefoil and trefoil traceries. On four straight — 
square legs. Wrought-iron hinges and lock, with hinged fall keyhole 
cover panel above of Gothic tracery. 


Height, 231% inches; width, 48 inches ; Cee 24 inches. 


Illustrated in “A History of Italian Furniture,’ by Wm. Odom, page 19; oats 16 
and 17. 


(Illustrated) 


267—Tuscan Watnut PLATE-RACK OF THE SIXTEENTH CENTURY 


268— 


Rectangular shape. With three shelves having molded and leaf carved 
fronts and molded plate rails, supported by straight iron bars, and by 
three vertical wooden brackets scrolled, voluted and carved, those at 


the ends terminating in cherubim. 
Height, 29 inches; length, 101 inches. 


Umprian Watutnut CABINET OF THE SIXTEENTH CENTURY 


Rectangular shape, in two portions. Upper portion set back and fitted 
with one long and two short drawers with raised shaped panel fronts and 
wooden knobs. Lower portion with chamfered angles, top with molded 
edge and frieze fitted with two drawers with raised shaped panel fronts, 
divided and flanked by acanthus-leaf modillions supported by paneled 
pilasters. Body arranged as cupboard with two hinged doors having 
fronts carved with heraldic birds holding floral sprays. Carved voluted 
bracket feet. 


Height, 45 inches; length, 61 inches; width, 22 inches. 


269—Umerian Watnout CaBINET OF THE SIXTEENTH CENTURY 


Rectangular shape, with molded top. Apron with two drawers, sepa- 
rated and flanked by acanthus-leaf carved modillions, and with handles 
formed as masks. Lower part arranged as a cupboard with two hinged 
doors, with carved and molded panels, separated and flanked by caryatid 


figures having paneled tapering terminations. Carved and molded plinth ~ 


and voluted feet carved with masks. 


Width, 68 inches; height, 4514, inches; depth, 19 inches. 


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270—FLoRENTINE CARVED AND GILDED WaLNvuT CaAssONE OF THE SixreENTH 
CENTURY 
Rectangular sarcophagus shape. With domed, molded and fluted hiveed j 
lid. Fluted and floral rosetted frieze and curved body, carved with three 
panels, separated and flanked by imbricated and voluted pilasters, the 
center one carved with scrolled and heart-shaped escutcheon; the side 
ones with floral quatrefoils. At the angles are voluted and acanthus- 
leaf carved pilasters. On carved lion-paw feet. Carving heightened by 
gilding. 
_ Height, 23 inches; length, 64 inches; width, 20% inches. 


(Illustrated) 


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271—Umprian Watnut Cassone OF THE SIXTEENTH CENTURY | 
Rectangular shape, with hinged lid, having a sunken paneled top and — = 
a molded fluted edge. Front with sunken panel surrounded by molding 
carved with rosettes and fluting, and flanked by vertical molded panels 
occupied by carvings of voluted grotesque masks. Sides with wrought- 
iron swinging looped carrying handles. | 


272—FLORENTINE Certosina INLAID VAN CasSONE OF THE SIXTEENTH | 
CENTURY 


Rectangular shape; hinged lid, with molded edge and shaped side braces. __ 
Front and sides with sunken molded panels, enclosing sheets of wrought- — 
iron pierced with quatrefoil and diamond patternings over red paper 
ground of certosina-work flanked and separated by stiles paneled with 
certosina-work of a geometrcal patterning; molded base. 


oom 


Height, 191/, inches; length, 62 inches; width, 211% inches. 


273—Umnmpsrian Waunvut Cassone OF THE SIXTEENTH CENTURY 


Rectangular shape, with hinged lid having molded edge carved with 
gadroons. Front decorated with sunken panel, carved in relief with 
acanthus-leaf scrollings, flowers and four Putti, surrounded by stiles 
carved with scrolled borders, and flanked by voluted brackets supporting 
carved figures of youthful Bacchantes carrying bunches of grapes. 
Molded plinth, carved with rosettes and voluted scrolls and paw feet. 


Height, 25 inches; width, 72 inches; depth, 2114 inches. 


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274—FLoRENTINE WALNUT BENCH OF THE SIXTEENTH CENTURY 


Shaped back carved with voluted scrollings, floral festoons, and a scrolled 
escutcheon charged with a coat-of-arms and surmounted by a Ducal 
coronet. Scrolled and voluted arms carved with cherubim, wooden seat 
with molded edge, carved and pierced apron and shaped supports. (Re- 
stored. ) 

Height, 74 inches; depth, 47 inches. 


275—Umpsrian Watnut LEcCTERN OF THE SIXTEENTH CENTURY 


Rectangular supports crossing diagonally and carved with a sunken 
pattern of trefoiled imbrications, turned baluster-shaped cross-bars and 
original leather book-rest finished with silken braid and silver fringe. 


Height, 651, inches. 


276—Tvuscan Watnut Tasxie or THE EIGHTEENTH CENTURY 


Rectangular top with molded edge carved with egg and dart ornament, 
scrolled and voluted supports carved with imbrications and connected by 
voluted scrolls and paw feet; spirally turned straight iron bar brackets 


beneath. 
Height, 33 inches; length, 60 inches; width, 261/, inches. 


277—Tuscan Watnut Correr-BENCH oR PANCA OF THE SIXTEENTH CEN- 
TURY 


Rectangular shape, with straight back, molded cornice, carved, rosetted 
frieze, paneled front and fluted plinth. Straight arms, with paneled sides 
and mask-carved fronts. Seat with hinged lid, arranged as coffer. Pan- 
eled front, flanked by pilasters carved with coats-of-arms, fluted plinth 


and molded base. 
Height, 37 inches; length, 60 inches; width, 23 inches. 


278—F LorENTINE Watnvut Panca or BENCH OF THE Earby SIXTEENTH CEN- 
TURY 

Rectangular shape, straight back with molded top rail, straight arms 
with acanthus-leaf carved and imbricated fronts. Molded seat rail and 
broken paneled front with raised moldings and a central octagonal 
medallion, enclosing a scrolled escutcheon, carved with the coat-of-arms 
of the Piccolomini family. Molded sub-base. The seat is hinged so as 
to form the lid of a coffer, fitted with twelve small drawers, the brass 
handles of which are fashioned as Piccolomini crescents. Fitted with re- 
movable cushions of crimson velvet, finished with varicolored silk fringe. 


Height, 59 inches; length, 82 inches; depth, 291/, inches. 


279—FLoRENTINE WatNnut Door oF THE SIXTEENTH CENTURY 


Rectangular shape, with arched top, surrounded by sunken moldings and 
divided by molded stiles into six panels, entirely occupied by carved 
diamond-shaped diaper enclosing floriated rosettes. The upper middle 
panel has a carved scrolled escutcheon charged with the arms of the 
Piccolomini family. Wrought-iron lock, with heart-shaped keyhole 
escutcheon and circular sunken rosette, decorated with interlacements 
and with a wrought-iron ring in center. 

Height, 74 inches; width, 39 inches. 


Rectangular shape with two sunken, molded p 
head and bead and reel enrichments, and surrounded b 
rosetted guilloche patterning. The outer border is 
with egg and dart carving. In the center of the pan 
rosettes. Molded base. Wrought-iron bolt and br 
| : Height, 67 


(Illustrated) 


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Revtweaie ape with: molded cornice a f 
carved with Florentine fleur-de-lis, supported on 
female caryatids. Pendant of fruits and leaves < 
as a cupboard with hinged doors, each having two 
panels with raised moldings, the broken panel e1 
scrollings. Carved masks in center panels, Mol 
bracket feet. eat 

Height, 56 inches; width, 41 


From the Stefano Bardini Collection. 


(Illustrated) 


No. 281—FLorENTINE WaLNvuT CABINET OF THE SIXTEENTH CENTURY 


282—FrLorENTINE WALNUT CABINET OF THE SIXTEENTH CENTURY 
Rectangular shape, in two portions. The upper portion, formed as a 
cupboard, has molded cornice, plain frieze and an elaborately carved — 
and pierced cresting, with a center of two Putti, supporting a dis- 
played Eagle holding the Florentine fleur-de-lis, on a pedestal carved with 
a grotesque mask, flanked by acanthus-leaf scrollings and garlands. 
Below are two hinged and glazed doors with molded frames, flanked by 
paneled pilasters, carved with Putti, caryatids and husk pendants. These 
pilasters are hinged, and when a metal catch inside the body is withdrawn, 
reveal nests of six drawers with paneled fronts and swinging handles, 
pierced in a scrolled design of gilded bronze. | 
The lower portion has a molded top and frieze, carved with masks and 
scrolls, and is arranged as a cupboard with two hinged, paneled doors, 
having knobs carved as female masks, and flanked by paneled pilasters, 
carved with Amorini, caryatids, and husk pendants. 


Height, 95 inches; width, 45 inches; depth, 18 inches. 


From the Stefano Bardini Collection. 


(Illustrated) 


283—-VENETIAN Parinrep EscritToirE oF THE EIGHTEENTH CENTURY 


Rectangular shape. In two portions. The upper portion, with molded 
arched pediment with a scrolled shell central finial and vase-shaped side 
finials, frieze painted in groups of figures in eighteenth century costumes 
and paneled pilasters painted with husk pendants, is arranged as a 
cupboard with two hinged doors having round-arched tops, paneled with 
mirrors intaglio-engraved with figures of a gentleman and lady in eigh- 
teenth century costumes. The lower portion is arranged as a desk, with 
six drawers and sloping hinged fall front, painted with groups of figures 
in eighteenth century costumes. The sides have sloping and vertical 
panels, the angles are rounded and paneled, and the body, with incurved 
front, is fitted with three drawers having paneled fronts painted with 
groups of figures in eighteenth century costumes. The ground is cream- 
colored and the painting in various colors. (One mirror cracked.) 


Height, 95 inches; width, 69 inches; depth, 29 inches. 


No. 282—FnrorEntTINE Waunut CABINET OF THE SIXTEENTH 


CENTURY 


oe 


PAINTINGS 


ITALIAN SCHOOL OF THE LATE EIGHTEENTH CENTURY 


284-PAIR’ OF MINIATURE PAINTINGS Karl ? Ve 


Height, 4 inches; width, 61/4, inches 


Boru with groups of dogs in landscapes. 


ATTRIBUTED TO FRANCESCO GUARDI (1712-1793) 


VENETIAN SCHOOL OF THE EIGHTEENTH CENTURY 


285—VIEW OF VENETIAN CANAL WITH BOAT 


Height, 51/, inches; width, 6 inches OL je 


FisHERMAN and gondola in the foreground, and background of buildings, in- 
cluding one with a square tower. Cloudy sky. In old molded wooden frame. 


ATTRIBUTED TO FRANCESCO GUARDI (1712-1793) 


VENETIAN SCHOOL OF THE EIGHTEENTH CENTURY 


286—RUINS 
Height, 71% inches; width, 64, inches 


In the center is a ruined arch of brick, faced with stone. On the right a 
seated figure, and on the left, buildings with figures in the foreground. In 
the distance, another ruined arch, and buildings. Blue sky. 


trucllr 


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ON S- ery er 


287—VENETIAN CARVED AND PAINTED WOOD TABLE 


SCREEN OF THE SEVENTEENTH CENTURY 
Kt. awe RAMA1c dA _ Height, 16 inches; width, 191% inches 
HREE-FOLDED screen, with pierced and carved scrolled cresting and pierced 


and carved scrolled feet. Painted with a view of a religious fiesta at the 
Church of the Santa Salute, Venice. Signed on the back: “Marco Garbas.” 


ja6 O 


ee 


ITALIAN SCHOOL OF THE NINETEENTH CENTURY 


288—“THE BRIDGE” 4 
Height, 10 inches; width, 144% inches [: A 1 ATS 


View of a single-arched bridge, with groups of peasants leading laden donkeys — 
passing over it. Underneath is caught a glimpse of a castle and in the — q 
distance a sunset sky. 


ITALIAN SCHOOL OF THE NINETEENTH CENTURY 


289—“THE BAY” 
Height, 10 inches; width, 141% inches 
Lanpscape and seascape picture representing a bay of the sea, with hill 


crowned by fortress in distance, and walls of a fortress with guns and British 
Union Jack on right. Figures of contadini in foreground. 


PERUGIAN SCHOOL (FIFTEENTH CENTURY) 


290—AN ADORATION 
Height (with frame), 201, inches; width (with frame), 151% inches 


Ficure of the Virgin seated on a marble bench, in red robe, blue mantle and 
white hood, adoring with uplifted hands the Child Christ, who, clothed ina 
white-lined tunic, lies on her lap. Both Virgin and Child have gilt haloes, = 
that of the Virgin being rayed. Above, on either side, are two Angels with 
joined hands, looking downward in adoration. Carved curved arch, with leaf 


spandrils and painted molded wooden frame. Muce, 


FLEMISH SCHOOL OF THE SIXTEENTH CENTURY 


291—PAINTING IN OIL: THE VIRGIN 
Height, 10% inches; width, 7 inches 


Recraneutar shape with arched top. Half-length figure of the Virgin, 
in a dark robe, trimmed with red, a blue mantle and a cambric hood. She is — 
seen in three-quarter view looking to the left and supporting with both hands 
the Child Christ, dressed in a white robe and holding an apple in His left 
hand. In old molded wood frame. (J 

' 


J. B. DESORAN 


FrRENcH ScHOOL oF THE NINETEENTH CENTURY 


292—PORTRAIT OF A YOUNG WOMAN 


4 (Canvas) 
(Care Height, 81/, inches; width, 61/, inches 


THREE-QUARTER-LENGTH view, with head inclined to the left. Dark brown 
ringleted hair with pearl band, pearl earrings and necklace. She wears a 
high-waisted dress of white cambric, a rose-colored girdle and a black lace 
shawl. Landscape background. Signed, and dated “1810,” at lower right- 


hand corner. 


a : 
Fe PE BBs Pa PRE Be 8p Re BE PPI ME 


FRENCH SCHOOL 


EIGHTEENTH CENTURY 


2983—PORTRAIT OF A MUSICIAN 


(Canvas) [J. ar ‘BQ unrte 


Height, 25 inches; width, 181% inches 


Busr portrait of a young man, clean-shaven and with brown hair. Dressed | 
in a high-collared brown coat, with his head thrown back. He writes with a 
quill pen on a sheet of music resting on the table in front of him. 


PIETRO LONGHI (1702-1762) 


VENETIAN ScHOOL OF THE EIGHTEENTH CENTURY 


294 “THE PORTRAIT” and “THE CRIPPLE” 


O) (Canvas) aa D0 , 


Height, 191% inches; width, 15 inches 


Parr of pictures representing caricatured scenes of Venetian life of the eigh- 
teenth century. In one an artist, in tight-fitting patchwork costume, is paint- 
ing the portrait of a lady who, in patchwork bodice and blue skirt, sits in a 
chair facing him and holds a rose in one hand. In the other a young woman, 
in red bodice and patchwork skirt, is standing in a landscape extending one 
hand to a cripple who, in tight-fitting patchwork costume, supports himself 
on crutches and is hung with a soldier’s accoutrements. Seascape background. 


VENETIAN SCHOOL OF THE EIGHTEENTH CENTURY 


295—PORTRAIT OF A LADY 


° (Canvas) 
See PL 66 C- Height, 2414 inches; width, 18 inches 


Hatr-Lencru figure of a lady in buff dress trimmed with rose. Her hair is 
dressed high over a cushion, with flowers at the sides, and she rests one hand 
. on the back of a small white poodle dog. Dark background. No frame. 


ITALIAN SCHOOL OF THE SEVENTEENTH CENTURY 


296—PORTRAIT OF A YOUNG PRINCE 


(Canvas) 
Ai Height, 29 inches; width, 24 inches 


Hazr-Leneru portrait of a youth with head turned over left shoulder, facing 
the spectator. In armored corselet, with lace and cambric “Ramilies,” red 
velvet mantle and full black peruke. Dark brown ground. Molded, carved and 
gilded wood frame. 


Lt O. 


HENDRICK VAN LIND (1697-1742) 


Roman Scueot oF THE EIGHTEENTH 


297—“THE pee EE CELI 23. OF BACCH US 
ON 
(Canvas) 


Height, 581, inches; width; 834, inches 


Ix the foreground a group of figures, including the 5 
the Nymphs Philia and Coronis. On the right of the | 


HE ISLA) 


meee by her side a Putto playing the cymbals etl an 
to Bacchus. In the middle distance is Silenus on his : ass, 
group of Bacchantes. Beyond, a terminal figure of at h be 
the distance a building with a sculptured tablet occupie 
a family of Centaurs. These figures are placed in an exter 
trees and rocks, while on the left is a bay rt 
town on its shore and an arm of the sea in the foregroun 
elephants are bathing, shielded by the herd of adults who form > 
vised dam with their bodies. Signed in the lower a c 

Franco van Lind di Studio Roma 1741.” a 


Note: Hendrick van Lind, known as “Studio.” wane ounges 
Lind, a famous Flemish portrait painter of the seventeenth bin nit 
Antwerp ia 1097 sad, site Sed) eg 7s ae 


after the manner of Glande Lorrain, whos: viyallie aie 
figure subjects, which he finished with the minuteness of a 1 
group of Flemish painters in Rome named him “Studio” owing to his close aj 
to his artistic studies. Examples of his work may be seen in the public Gal 
Augsburg, Brunswick and Turin. 


(JUustrated) 


«cSOXV NT HO (NV'IST OLLI NO SAMOOVET WO NOLLVO DONT TH T55—L62Z ‘ON 


SEO ene ea tte mm 


teem a ps 


PIETRO LORENZETTI (12(?)-1848) 


SIENESE SCHOOL OF THE FouRTEENTH CENTURY 


298—“VIRGIN AND CHILD” 
(Panel) 


Q 4 a? Height, 36 inches; width, 29 inches Cattiderd F: 


Sratep upon a throne of architectural design, the Virgin, clothed in a robe, 
mantle and hood of dark blue lined with green and trimmed with bands of 
gold embroidery and with a transparent veil of linen, holds on her lap, her 
left hand around His waist, her right hand clasping one of His bare feet, 
the Child Christ who is clothed in a garment of rose-color bordered with gold 
and has closely curling hair. Both Mother and Child wear, at their breasts, 
raised ornaments of pastiglia colored a bright red, and both wear haloes— 
that of the Child with a cross incised and decorated with pastiglia jewels, 
that of the Virgin decorated with bands of incised ornament. The throne 
is rectangular in shape, with carved horizontal moldings, a cresting of fleurs- 
de-lis in gold and finials of symbolic figures of the Four Evangelists, consisting 
of the Eagle of St. John, the Angel “i St. Matthew, the Bull of St. Luke and 
the Lion of St. Mark. The throne is further enriched by panels of the type 
of mosaic work made familiar by the work of the Comes family and by a 


background of solid gold. 


Note: Pietro di Lorenzo, known as Lorenzetti, one of the earliest of Sienese painters, = = — 
was born toward the end of the twelfth century and died of the plague -in the year We % 
1348. He was a pupil of Duccio Buoninsegura and at first followed the methods of ‘A 
Simon and Pietro Cavalini. Later, however, he seems to have thrown aside these 
influences and to have. allowed his individuality full play. Venturi, in his “Storia 
dell’? Arte Italiana” (1907), calls attention to his artistic habits as evinced in “the 
narrowed, almond-shaped eyes, the downward turned lips and the long hands with 
widely separated fingers.” His earliest signed painting is a panel in the Uffizi Gallery 
in Florence. His greatest glory is the series of frescoes in the lower Church of St. 
Francesco at Assisi, which for many years were attributed to Giotto, or to Paccio 
Copanna, one of Giotto’s pupils. The picture under consideration bears all the ear 
marks of Lorenzetti. The eyes, the mouth and the hands of the Virgin are clearly 
in his manner. The structure of the Throne and the pastiglia work resemble, to a 
remarkable degree, those of his Virgin in the Cortona Cathedral, while there is 
scarcely a well-known picture by the artist in which he has not introduced, with all a 
craftsman’s keen delight, those panels of what is known as Cosmati Mosaici, which 
are such a feature of this picture. 


(Illustrated) 


1348) 


NZETTI 12(?)- 


ro Lore 


By Pret 


No. 298—‘“‘Vircin AND CHILD.” 


ANTONIO CANALE—catitep CANALETTO (1697-1768) 


VENETIAN SCHOOL OF THE EIGHTEENTH CENTURY ~~ 


299—VIEW OF THE GRAND CANAL WITH THE CHURCH 
"a ae OF SANTA MARIA DELLA SALUTE, VE! 


NICE - 
(Canvas) ste (A~ 
Height, 2414 inches; width, 38 inches p 


On the right is the entrance to the Church of Santa Maria della Salute, with 
the portico, steps and figures. In the center the Grand Canal stretches in 


front of the spectator, laden with gondolas and shipping, and on the left 
are houses and palaces. 


Note: This and the following picture were painted by Canaletto about 1735 in 
his middle period. The figures in a majority of Canaletto’s pictures were painted by 
Gian Battista Tiepolo, but these give every evidence of having been added by Fran- 
cesco Guardi, who was at that time, as a youth, working in the studio of Canaletto. 


ANTONIO CANALE—cattep CANALETTO (1697-1768) 


VENETIAN ScHOOL OF THE EIGHTEENTH CENTURY 


300—VIEW OF THE GRAND CANAL, 
‘ oc WITH DUCAL PALACE, VENICE 


(Canvas) 
Height, 241, inches; width, 88 inches 
Iy the foreground is the Canal with the Bucentoro, or Doge’s Barge, and nu- 


merous gondolas. In the center of the background is the square of St. Mark’s, 
with Ducal Palace on the right, and on the left, blue sky. 


FLEMISH SCHOOL OF THE SEVENTEENTH CENTURY 


301—P AIR OF FLOWER PAINTINGS 
(Canvas) 


& 50 ‘ Height, 35 inches; width, 57 inches nes LO. WW. Ocal (/ 


One with a silver vase filled with gaily colored flowers. Landscape background. 
One with a gold vase filled with similar flowers, and with a landscape es 
ground. 


NEAPOLITAN SCHOOL OF THE EIGHTEENTH CENTURY ~ 


302—DECORATION FOR A CEILING 

Height, 79 inches; length, 111 inches 
ALLEGORICAL subject of Venus and Neptune. Painted on canvas. On the right 
is the sea-god holding his trident and frothing seaward. On his left, a mermaid 


Ly A hi holding a branch of coral, while below are sea-horses, mermaids and a sea- 
‘ nymph extending a shell of pearls. Above, on the left, seated on a cloud, is 


Venus, draped in a blue mantle and attended by her doves and by Amorini. 


ITALIAN SCHOOL OF THE FIFTEENTH CENTURY 


303—SET OF FIFTY-NINE ITALIAN PAINTED PANELS 


Or THE Earrty FIrreentu CENTURY 


5-3 at Average height, 11 inches; widths, 13% and 161%, inches hy), { Bru 
| 534, Y 


Ser of panels originally forming a portion of a ceiling, painted in oils, some 
with bust portraits of the members of noble families, seen in profile in 
triple-arched niches with blue backgrounds. Some with bust portraits of 
Biblical characters, also in profile, in round arched niches with dark back- 
grounds and with names painted in Roman characters. 


(Illustrated) 


No. 303—Ser or Firry-NinE [rattan PAINTED PANELS 
oF THE Earty FirreentH CENTURY 


-_ 


~ 


JACOPO ROBERTI—catiep IL TINTORETTO (1512-1594) 


VENETIAN SCHOOL OF THE SIXTEENTH CENTURY 


304—PORTRAIT OF ELIZABETH FOSCARI 


+ f ; 
(Canvas) - eer. CCE EL 


Height, 45 inches; width, 871/, inches 


THREE-QUARTER-LENGTH figure of a young woman seated in a straight-backed 
armchair covered with red velvet. She wears a black velyet robe with lace 
fichu, a pleated lace ruff, pearl drop earrings, a pearl necklace, gold bracelets 
and a chain girdle of gold. Her hair is drawn back from her forehead and 
she wears a curious head-dress of coiled silver wire. Her hands rest on the 
arms of the chair, and at her side is an open window through which is seen 
a mountainous landscape. Background of dark drapery, with, in the upper 
left-hand corner, the inscription in Roman characters: “ELISABE™ FILIA. 
TOSs . ALEGE PROCS’. UX. ALOVIWs. FOSC’S. EQE’S . GIACO-BUS. 
TINTORETO. FT.” In old carved and gilded wood frame. 


From the Volpi Collection, sold in Florence in 1910. 


ie i 


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ON ee ae a ee 


be 


JACOPO DA PONTE 


KNown 4s IL BASSANO (1510-1592) 
VENETIAN SCHOOL OF THE SIXTEENTH CENTURY 


3805—PORTRAIT OF A VENETIAN CAPTAIN 


(Canvas) <2 
Chal i ~~~ Height, 45 inches; width, 38 inches 


THREE-QUMRTER-LENGTH portrait of a bearded man. His face is turned in 
the direction of the right of the spectator. He wears a complete suit of plate 
armor, is bare-headed and supports with his right arm a two-handled sword. 
The left hand rests on the stone coping of a balcony in front of him. Dark 
background. Carved and gilded wood frame. 


Note: Jacopo da Ponte was born and began his career in the town of Bassano. 
Hence the name by which he is generally known. 


FURNITURE OF THE SIXTEENTH, SEVENTEENTH AND 
EIGHTEENTH CENTURIES 


313—Tuscan Waunut CABINET OF THE SIXTEENTH CENTURY 

Rectangular shape. Top with molded and dentelled edge and frieze 
fitted with two drawers, having paneled fronts and wooden knobs, sepa- 
rated and flanked by carved bearded masks. Body arranged as a cup- 
board with two hinged paneled doors, the centers decorated with carved 
moldings, shells and scrolled escutcheons, carved with the arms of the 
family of Prince Doria, and separated and flanked by voluted pilasters 
having capitals formed as human heads—one with a turban. Plain 
broken plinth and carved molded base. 


Height, 72 inches; length, 77 inches; width; 25 inches. 


Illustrated in “Italian Furniture and Interiors,” by George Leland Hunter, Plate 176. 


(Illustrated) 


AWNLINAY HINTALXIG 


ALL 


LO LANTE&V() LONTV AA NVOSDT—?1le 


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carved in a guilloche pattern. On rectangular - 
acanthus-leaf side brackets, carved with scrolled es 
with the coat-of-arms of the Orsini family, and restin 
cross bases carved at the ends with lions’ masks. I 


AYOLNGA’) HINAALXIG AHL AO Ci Re LONTV AA GIWIN]T aNV GaHAUV’) NVWOY—*F ILE “ON 


315—VeENETIAN Painted Door anp ALcovE SCREENS OF THE EIGHTEENTH 
CENTURY 
Door with two hinged leaves having shaped panels, round-arched top 
with arched and scrolled pediment, flanked by voluted panels enclosed 
by twin pilasters and surmounted by molded cornice and arched pedi- 
ment. Four rectangular screens, flanked by pilasters surmounted by 
cornices and plain frieze, enclosing shaped panels with raised moldings, 
and molded bases, stopping short of the floor. Elaborately decorated 
with varicolored paintings and gilding, on green grounds, the pilasters 
and friezes with leaf and quatrefoil diapers, the upper panels of doors 
and screen panels with Amorini and festoons, the lower door panels 
with escutcheons. All surrounded by rococo scrollings and leaf pendants. 


Height of door, 121 inches; width, 110 inches. 
Height of screen, 86 inches; width, 43 inches. 


Note: These doors and screens formed an adjustable alcove to surround the cere- 
monial bed used in the early eighteenth century for reception purposes. 


316—FLoRENTINE Watnut BooxcasE OF THE SIXTEENTH CENTURY 


Rectangular shape, in two portions. The upper portion, with broken 
molded cornice and plain frieze, fitted with four shelves for books, sepa- 
rated and flanked by fluted and astragalled pilasters having capitals of 
the Composite order and molded bases supported on console brackets, 
the fronts carved with cherubim, floral festoons, acanthus leaves and 
volutes. The lower portion is fitted with three drawers, having twin 
paneled fronts with raised moldings, separated and flanked by carved 
acanthus-leaf scrollings and with a cupboard, having six hinged doors 
with paneled fronts, enclosing broken panels with octagonal centers. 
On molded base with cushion feet. Drawers with scrolled keyhole escut- 
cheons and swinging handles, and cupboard doors with scrolled looped 
handles and keyhole escutcheons of bronze. 


Height, 111 inches; width, 135 inches; depth, 22 inches. 


Note: This remarkable and interesting bookcase is illustrated in the “History of 
Italian Furniture,” by William M. Odom, Figure 225, page 241, and may be com- 
pared to that illustrated on page 39 of Dr. Bode’s “Italian Furniture.” 


(Illustrated) 


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317—Tuscan Watnut CABINET OF THE SIXTEENTH CENTURY 


Rectangular shape. Top with molded and dentelled edge; frieze arranged 
with three drawers, having paneled fronts with guilloche carved mold- 
ings and turned and fluted knobs, separated and flanked by grotesque 
masks carved in high relief. Below is a projecting molding carved with 
bands of fruit and leaves and a cupboard with three hinged doors, the 
fronts paneled with guilloche carved moldings, the centers occupied 
with lions’ head masks, and with a scrolled escutcheon carved with the 
coat-of-arms of the Palmieri family. ‘These doors are separated and 


flanked by caryatids with Ionic capitals and terminations of fruit pen- 


dants. Broken carved plinth, molded base and feet. 
Height, 31 inches; length, 111 inches; width, 27 inches. 


From the first Volpi Collection, sold at Florence in 1910. 


318-—-VENETIAN PaINnTED SPINET AND STAND OF THE EarLy SEVENTEENTH 
CENTURY 
Shaped case, with hinged lid and boxwood and ebony keys, on stand 
with top having molded edge, plain frieze, pierced voluted and rococo 
scrolled aprons, and three scrolled legs with voluted capitals and bases, 
shaped, molded and scrolled back and front rails and square voluted 
feet. The interior of the lid of case is painted with a landscape, ruins, 
a river and bridge signed “G. Hill’ in the lower left-hand corner, the 
side with groups of flowers in colors on a black ground. The stand in 
black with gilded moldings, the frieze with floral sprays in colors on a 


black ground. 
Height, 41% inches; width, 62 inches; depth, 24 inches. 


(Illustrated) 


No. 318—-VENETIAN PaintTED SPINET AND STAND 
OF THE EarLty SEVENTEENTH CENTURY 


319—Norru Travian Paintrep anv GrupEpD BooxcasE OF THE SIXTEENTH CEN- 
TURY BY VENATO 

Rectangular-shaped, divided horizontally into two portions and ver- 
tically into five bays. Molded cornice, with main frieze carved in relief 
with designs of Putti, horses and fabulous animals. The dado portion is 
finished with a molded cornice and a subsidiary frieze formed of shaped 
panels carved with grotesqueries and scrollings, including centaurs shoot- 
ing at birds with bows and arrows, bound giants and warriors on horse- 
back. The bays are vertically separated and flanked by pilasters with 
composite capitals and paneled shafts, carved with pendants of masks, 
military trophies and portrait medallions, in one case the portrait being 
that of the Prior of the Confraternity for whom the bookcase was made. . 
In front of the pilasters are detached columns with acanthus-leaf carved 
balusters, urn-shaped and columnar shafts and composite capitals 
carved with cherubim. Im the case of one capital the cherub is re- 
placed by the head of a bearded man, said to be the portrait of the 
artist. The bays are supported by a plinth having panels carved with 
grotesqueries and portrait medallions. The plinth cornice and molded 
base are broken around the projecting columns. Carving painted natu- 
ralistically, the moldings and ground gilded. 


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Height, 137 inches; width, 97 inches. 


A 


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Note: This bookcase was originally made almost to fill one end of the room of the 
monastery from which it came. 


(Illustrated) 


\ 
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OLVYNGEA A AUNINAD HINADLXIG AHL AO 
ASVOMOOG GAdTI) UNV CALNIVG NVIIVL]T HLYON—6E ‘ON 


320—Frorentine Marsie Doorway or THE Ear Ly SIXTEENTH CENTURY BY 
ANDREA SANSOVINO 
Arched doorway, flanked by three-quarter-round pilasters, the shafts — 
of which have the lower parts fluted and the upper carved in relief 
with arabesques of masks and scrolls of acanthus leaves. Capitals of the _ 
Composite order of acanthus leaves, enriched volutes and egg-and-dart 
and bead and reed moldings, and in molded bases. Above is a plain 
frieze and a molded, dentelled and egg-and-dart enriched cornice, and 
between, a molded round arch, the soffit of which is enriched with sunken 
panels, enclosing rosettes and a central circular floral medallion. Below 
the pilasters are rectangular plinths carved with the coats-of-arms 
of Pope Julius Second [Gaetano della Rovere (1443-15138) |] and en- 
riched with molded bases. Of Greek statuary marble. Sculptured by 
Andrea Sansovino (1460-1529). | 
Height, 14 feet 8 inches; width, 8 feet 10 inches. 


Note: This doorway, which the Italian Government allowed to leave the country 
only by reason of the fortuitous citcumstance of its having for a century or longer 
formed part of the interior decoration of a very well known Italian villa, and its 
having failed to be listed with other “National Monuments,” was designed and 
sculptured by Andrea Contucci della Sansovino, one of the earliest of the Florentine 
Renaissance sculptors. In 1506 he went to Rome, where he erected the Tombs of 
the Cardinals Ascanio Sforza and Girolamo Basso in the Church of Santa Maria del 
Popolo, acclaimed by all critics as Sansovino’s masterpieces. Vasari, for instance, says, 
“These works are so perfectly finished by Andrea that it is not possible to desire 
more, because they are so pure—their finish is so beautiful and graceful and they are 
so well done that in them we can see how strict is the adherence to the rules of 
proportion entailed by the art.” To the architectural settings of these tombs the 
doorway now under consideration is curiously similar, save that it is richer and more 
elaborate in regard to its decorations. It was as a sculptor of architectural monuments 
and their details that Andrea Sansovino was supreme. Others may have treated the 
human figure more successfully, but none of his contemporaries or successors equalled 
him in his sense of proportion or in the jewel-like crispness and delicacy of his 
detail. It is interesting to remember that Pope Julius the Second, for. whom the 
doorway was evidently made, was a lover of the arts, and the friend and patron of 
Bramante, Raphael and Michelangelo. 


(Illustrated) 


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Se SAR are We igh WAR DG Aa YAY 3 


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No. 820—FLorENTINE MAarsBie Doorway OF THE EARLY SIXTEENTH CENTURY 
BY ANDREA SANSOVINO| 


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FOR 
UNITED STATES AND STATE TAX 


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THE AMERICAN ART ASSOCIATION 


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AND PERSONAL EFFECTS OF 
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AT CHARGES COMMENSURATE 
WITH THE DUTIE’ INVOLVED 


THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 


NEW YORK 
TELEPHONE, 3346 GRAMERCY 


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